My Kind of Country

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

Tag Archives: Janie Fricke

Classic Rewind: Johnny Duncan and Janie Fricke – ‘Jo And The Cowboy’

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Album Review: Robert Mizzell – ‘Redneck Man’

Released in 2010, Robert Mizzell’s seventh album Redneck Man contains 15 songs, the majority of them covers, but some of them relatively obscure songs. Mizzell has a strong baritone voice which does justice to the material, and he is effectively backed by an excellent band performing mostly traditional country arrangements.

Although not a songwriter himself, the one original song on the album draws directly on Mizzell’s own life story. ‘Mama Courtney’, specially written for him by Irish songwriter Henry McMahon, is a moving tribute to the loving foster parents who helped to raise him in Louisiana when his birth mother “lost her way in life”.

Us kids are all now grown up and gone our separate ways
I look back on my childhood of many happy days
And when I go back to Shreveport I place flowers on her grave
And I thank Mama Courtney for all those kids that she saved

There are many children in this world that suffered hurt and shame
I thank all the Mama Courtneys that took away their pain
God works in mysterious ways
I believe this is true
Though she had no children of her own she fostered 32…

God rest you Mama Courtney
I’ll always love you

This is a genuinely moving song, and was understandably a success for the artist on Irish country radio.

Another single for him was a duet with US country star Collin Raye on ‘Murder On Music Row’. The two singers swap lines rather than harmonising except on the odd chorus line, but they contrast well, and both sing with feeling. Perhaps as a nod to Raye, Mizzell covers ‘I’m Gonna Love You’, a fluffy novelty song written by Robert Elis Orrall, which Raye cut on his children’s album Counting Sheep. It isn’t a very good song, and adds nothing to the album.

Much better is an entertaining cover of ‘Ol’ Frank’, a tongue in cheek story song about a young trophy bride who cashes in after “he died with a smile on his face”, which George Jones recorded in the 80s. Another late Jones cut, the up-tempo ‘Ain’t Love A Lot Like That’, is pleasant but definitely filler (plus it’s far too cavalier about missing pets).

Another excellent track is ‘More Behind The Picture Than The Wall’, a traditional country ballad written by Bill Anderson, Buddy Cannon and Don Miller, about a father remembering happy times past after the death of his soldier son in action. Mizzell’s vocals do the poignant nostalgia of the song (previously recrded by bluegrass band Doyle Lawson and Quicksilver) justice.

Too soon our little family was scattered to the winds
You fell out of love with me and wouldn’t fall back in
I was sleeping by myself the night I got that call
Yeah, there’s more behind this picture than the wall

Casey died a hero, that’s what the chaplain said
We couldn’t find sweet Lorrie, I doubt she knows it yet
You and I still tortured by the memories we recall
But there’s more behind this picture than the wall

Four happy loving faces, back then we had it all

Also very good is Mizzell’s version of ‘Someone To Hold Me When I Cry’, a great Wayland Holyfield/Bob McDill song which was a hit for last month’s Spotlight Artist, Janie Fricke and has also been recorded by Don Williams and Loretta Lynn.

He adds a soulful tinge to Jamey Johnson’s ‘She’s All Lady’, a married singer’s polite but firm rebuff to a potential groupie.

Thanks for coming out to see me
I hope you liked the show
Yeah, that’s right, I settled down about six months ago
No, she ain’t here tonight, she stayed at home
Yeah, it sure does get lonely out here on the road

By looking in your eyes, I can tell what’s on your mind
Yeah, I’d love to drive you home and’ hold your body close to mine
You’re everything a man could dream of, baby
Cause you’re all woman
But she’s all lady

I met her at a Baptist church in Tennessee
She was looking for someone
I was prayin’ it was me
No, she never thought she’d fall in love with a guitar man
Oh, it took some gettin’ used to
She does the best she can
No, she don’t like to stay at home alone
No, I don’t need your number
She’s probably waitin’ by the phone…

No, it ain’t you, Lord knows you’re a sight
Yeah, I probably could
But I could never make believe it’s right
I’d rather be alone, and I know that sounds crazy
‘Cause you’re all woman
But she’s all lady
You’re all woman, but she’s my lady

The album’s title comes from a briskly delivered version of Alan Jackson’s early single ‘Blue Blooded Woman’, which opens the album. Loaded with fiddle, this is a strong cut. Darryl Worley’s minor hit ‘Tennessee River Run’ is bright and pleasant. ‘The Wind Beneath My Wings’ is a bit more well worn; Mizzell’s warm vocal sells it convincingly, but gets a little overblown towards the end.

Also on the less successful side, John Denver’s ‘Love Is Everywhere’ is forgettable, while ‘Two Ways To Fall’ once recorded by Garth Brooks sideman Ty England is quite a good song but suffers from dubious production choices with the first couple of lines horribly muffled and echoey.

Mizzell was already a reasonably well established star on the Irish country scene by this point, and in 2009 he acted as mentor to Lisa McHugh, another of the artists we are spotlighting this month, on a TV talent show. She guests here on a duet of the Randy Travis hit ‘I Told You So’; this is quite nicely sung but feels inessential. The same goes for ‘I Swear’; Mizzell sings with emotion but the arrangement feels a bit dated.

Overall I was very pleasantly surprised by this album. Mizzell has a strong voice and interprets the songs well; it’s just a shame that there was not more original material available.

Grade: B+

Album Review: Janie Fricke – ‘Labor of Love’

Like most other veteran acts, Janie Fricke was struggling to remain commercially relevant as the 1980s drew to a close. After scoring her final #1 hit, “Always Have, Always Will” in 1986, she suffered a sharp decline in her chart success, from which she never recovered. Although she had shifted to a more traditional sound, Labor of Love, her major label swan song, still had its share of songs that were more pop-leaning than radio was interested in at the time.

Two singles were released from the album – ironically the two weakest songs on the disc and neither one reached the Top 40. “Love Is One of Those Words”, from the usually reliable songwriting team of Holly Dunn, Tom Shapiro and Chris Waters, is a rather lackluster synthesizer-heavy ballad that was completely out of step with the more traditional fare being offered on radio. It peaked at #56. The second single was the Dave Loggins composition “Give ‘em My Number” which is probably my least favorite single of Fricke’s career. It attempts to be bluesy and sassy, and while she skillfully pulled off that style a few years earlier with “Always Have, Always Will” this time around her performance seems forced and the song just does not work for her. It charted a little higher than “Love Is One of Those Words”, landing at #43. It would be Janie’s final single for Columbia Records. Fortunately, the rest of the album is much better. It’s tempting to point fingers at the label for choosing the wrong singles but even if they had made different choices, it likely would have made little difference. Radio had moved on to newer artists and was finished with Janie Fricke, no matter what kind of musical choices she made.

“What Are You Doing Here With Me” is a very pretty ballad from the husband and wife songwriting team of Bill Rice and Mary Sharon Rice. It casts Janie as the other woman – or perhaps a would-be other woman, the extent to which the relationship has progressed is unclear. At any rate she has grown weary of listening to her partner singing the praises of his perfect wife and family, and rightly asks him if things are so wonderful at home, “What are you doing here with me?” “Walking On the Moon” is an upbeat tune about young love and was country enough to have had hit single potential. It is my favorite song on the album and likely would have been a hit if Janie had stumbled across it a few years earlier.
A handful of other songs on the album were recorded by other artists at one stage or another. “I Can’t Help The Way That I Don’t Feel” had appeared on Sylvia’s 1985 album One Step Closer. It’s the type of ballad that is best served by minimal production, and that is where Janie’s version falters. It starts off well but the chorus is too bombastic. “One of Those Things” would become a Top 10 hit for one of its writers, Pam Tillis, in another two years. Janie’s version compares admirably to Pam’s. I would have released it as a single. She also does a stellar job on the album’s closing track, Steve Earle’s “My Old Friend the Blues”, which would later appear on a Patty Loveless album.

One other song, “Last Thing I Didn’t Do”, though not one of my favorites, is noteworthy as one Janie’s very few songwriting credits. She wrote the song with Randy Jackson, who I believe was her former manager and ex-husband (and not the former American Idol judge). Aside from this bit of trivia, there’s nothing particularly interesting about the song itself.

Labor of Love is a solid, if slightly uneven capstone to Janie’s major label career. Although none of its songs qualify as essential listening, it’s still an album that Janie’s fans will want to give a spin, if they haven’t already.


Grade: B+

Classic Rewind: Janie Fricke – ‘I’ll Walk Before I Crawl’

Album Review: Janie Fricke – ‘Saddle The Wind’

The rise of the New Traditionalists in the late 1980s meant that the sooth pop-country which had served Janie well earlier in the decade was sounding dated. Janie was also now over 40, as younger artists came forward, and radio abandoned her, with no really successful singles from her 1987 album After Midnight. She took on the challenge with gusto, adapting to a much more traditional country style for 1988’s Saddle The Wind, with the help of producer Steve Buckingham. She was still, incidentally, using the new spelling of Frickie, which she had adopted for Black And White.

There were three singles to promote this album. Unfortunately, none did very well, but they are all excellent songs, beautifully sung and unmistakeably real country. ‘Where Does Love Go (When It’s Gone)’ is a brisk Peter Rowan song with a bright upbeat feel despite a lyric pondering the reasons for a breakup.

‘I’ll Walk Before I’ll Crawl’ is a lovely mid-paced ballad (written by Gidget Baird and Linda Buell) gives a cheating husband an ultimatum. The third and last single, ‘Heart’, was written by the ultra-successful writing team of Don Schlitz and Paul Overstreet. It is an excellent song about a woman desperately tempted to cheat on her husband.

On a somewhat similar theme, Hank Cochran’s classic ‘Don’t Touch Me (If You Don’t Love Me)’ explores the draw of sexual desire knowing the loved one cannot offer what the protagonist needs:

Your hand is like a torch each time you touch me
That look in your eye pulls me apart
So don’t open the door to heaven if I can’t come in
No, don’t touch me if you don’t love me, sweetheart

Your kiss is like a drink when I am thirsty
Oh and I’m thirsty for you with all my heart
But don’t love me, then act as though we’ve never kissed
Oh, don’t touch me if you don’t love me, sweetheart

Janie’s intense vocal is superlative on this song.

Several other classic covers are also included. Willie Nelson’s ballad The Healing Hands Of Time’ is another true classic song given an exquisite vocal, with some tasteful steel and piano. The album opens with a sprightly version of the Western Swing ‘Sugar Moon’ which is delightful, and Janie also revives the up-tempo ‘Crazy Dreams’, one of Patsy Cline’s lesser known early recordings.

‘I’m Not That Good At Goodbye’, a much recorded song written by Bob McDill and Don Williams, has another excellent vocal from Janie. ‘If I Were Only Her Tonight’, written by McDill with Bucky Jones and Dickey Lee, is another fine song about unrequited love and the pull of an old flame.

There is a Marty Robbins Mexican flavor to the title track, with Spanish guitar accompanying a story song written by the album’s producer Buckingham, about a star-crossed border romance with a bandido.

Janie had a truly lovely voice, but at her commercial peak she was too often buried under poppy production. In this album she finally married her voice to great production and songs, making this by far her best work. I would recommend it to anyone.

Grade: A+

Classic Rewind: Janie Fricke – ‘Where Does Love Go (When It’s Gone)?’

Classic Rewind: Janie Fricke – ‘Easy To Please’

Album Review: Janie Fricke – ‘Black and White’

Released in June 1986, Black and White saw a strong directional shift in Janie’s music toward a more nuanced and adult approach to music. There is more blues influence evident than in her earlier recorded efforts. This was Janie’s eleventh album (her last name was spelled ‘Frickie’ on the album cover). Norro Wilson produced the album.

Although I regard this album as Janie’s masterpiece, some of the songs are marred by 1980s production. Also this album marked the end of her as a chart force. “Always Have, Always Will”went to #1, but the second single “When A Woman Cries” only reached #20, and no future Janie Fricke single would ever again reach the top twenty. Some would argue that the New Traditionalist movement shoved Janie aside, but I suspect that her age had as much to do with it as newer, younger faces arrived.

Side one of the original vinyl album opens up with “Till I Can’t Take It Anymore”. Written by Clyde Otis and Ulysses Burton, the song has a long history, having been a pop hit for Ben E. King in 1968, with numerous covers including Billy Joe Royal’s #2 country hit in 1990. Janie does a nice job with the song.

Let’s not fight it anymore
Unpack your bags and close the door
Girl, I’ll never leave you
Though you lied right from the start
I can’t convince my foolish heart
Not to believe you

You’ve got two good men strung out
And there’s not the slightest doubt
That other men have loved you before
But you drew your face away
I dream of Heaven and I live in Hell
Till I can’t take it anymore

“He’s Breathing Down My Neck” is a mid-tempo ballad with a very jazzy feel to it. I think this is the weakest song on the album and it’s not at all bad.

Kent Robbins wrote “Take Me Like A Vacation”, an interesting song taken at mid-tempo. The song was later covered by Lynn Anderson. “Nothing Left To Say” is a slow ballad about the end of a relationship. The song is really well sung by Janie, a very nice album track. “Coming Apart At The Seams” is the story of a breakup that the narrator wants no part of, and cannot accept.

Thus ends side one of the original vinyl album. Other than the first track, none of the songs themselves are anything special but the whole is greater than the sum of the parts.

Side two opens with the best song Janie Fricke ever recorded, the bluesy “Always Have, Always Will”. The song reached #1. There is some lovely steel guitar on the track by former Buckaroo Tom Brumley.

It seems funny I remember your number
After all this time
And I know that it’s late
And I hope that I’m not out o’ line
But for some crazy reason
I’ve been thinkin’ ’bout you all day
And every three hours now
I’ve been thinkin’ of somethin’ to say

Ilove you like a fool
Always have, always will
But you know that it’s just my point of view
But I love you still
Always have, always will
Always have, always will love you

“Don’t Put It Past My Heart” is a mid-tempo song about a woman’s warning to her lover telling him to not take her for granted. This would have made a good single.

“When A Woman Cries” was released as a single, topping out at #20. Written by Buck Moore and Mentor Williams, I would have expected the song to be a bigger hit.

The album closes out with a pair of slow ballads. “He’s Making A Long Story Short” and “I’d Take You Back Again”, one of the few songs penned by Ms. Fricke.

The key to this album is that the songs are all situated in such a way as to let Janie show off her vocal prowess without overstraining her voice. Fricke is in good voice throughout, and while parts of the production sound a bit dated, at no point are the arrangements cluttered and obtrusive. Unlike her prior albums, which were simply collections of songs, this album sets a mood and does it well.

Grade: A

Classic Rewind: Janie Fricke – ‘She’s Single Again’

Classic Rewind: Merle Haggard ft Janie Fricke – ‘A Place To Fall Apart’

Classic Rewind: Janie Fricke – ‘The First Word In Memory’

Album Review: Janie Fricke – ‘The First Word In Memory’

Janie Fricke’s ninth album, The First Word In Memory, was released in August 1984. In accordance with her previous efforts, the album was produced by Bob Montgomery.

The album produced two singles, both of which were ballads. The string heavy “Your Heart’s Not In It” was Fricke’s sixth #1 hit. The title track, which was bogged down by clunky backing voices, peaked at #7.

Sandwiched between them was the brilliant “A Place To Fall Apart,” her collaboration with Merle Haggard, the second single from his album It’s All In The Game. Fricke’s contributions to the chart-topping ballad are slight at best, she barely sings alone at all, which I find odd given her stature as a prominent hit maker at the time.

“Talkin’ Tough” opens the album strong, in mid-tempo. “One Way Ticket” kicks up the tempo even more, would’ve made an excellent choice for a single and likely would’ve done very well. “First Time Out of the Rain,” which puts the album back into string-heavy ballad territory, is also very good.

The rockish production of “A Love Like Ours” is dated to modern ears, but Fricke delivers the barnburner flawlessly. The same can easily be said for “In Between Heartaches,” another standout cut on the record. “Another Man Like That” is another ballad, but a welcomed change with muscular opposed to lush accompaniment. “Without Each Other” is an ear-catching uptemo duet with Benny Wilson while “Take It From The Top” is a striking piano ballad.

Listening through The First Word In Memory, I regard it as a missed opportunity on the part of Columbia. The album is peppered with very strong material and yet two of the record’s most mediocre ballads were released as singles. There was a chance here to showcase another side of Fricke’s artistry and they blew it.

Columbia’s mismanagement aside, Fricke and Montgomery crafted an excellent and engaging album that nicely holds up 33 years later. There’s a definite 1980s sheen, but it doesn’t distract from any of the material.

Grade: A 

Classic Rewind: Janie Fricke – ‘Your Heart’s Not In It’

Album Review: Janie Fricke – ‘Love Lies’

I always regarded Janie Fricke as primarily a singles artist, and the market apparently agreed as Love Lies, Janie’s eighth album (ninth album if you include the Greatest Hits album released in October 1982) was the first of her albums to reach the top ten of Billboards Country Albums chart, punching in at #10. This would prove to be rarefied air for Janie as only one more album, Black and White, in 1986, would reach the top ten.

Released in late 1983 and produced by Bob Montgomery, Love Lies was the second album he produced for Janie. Love Lies would see three singles released, “Tell Me A Lie” (#1), “Let’s Stop Talking About It” (#1) and “If The Fall Don’t Get You” (#8). “If The Fall Don’t Get You” was the first single to not go top four after eight consecutive such successes.

In the past I had described Janie’s earlier singles as ‘lovey-dovey drivel’ but perhaps I was a bit harsh. Today I would describe her previous singles as ‘confections’. I would not describe any of the singles on this album using such terms. These are more mature songs.

The album opens with “If The Fall Don’t Get You”, a biting commentary on love, co-written by Van Stephenson, who later was a member of BlackHawk.

So you say you’re thinking of falling in love
Going way out on a limb
And it seems like push is coming to shove
Just look at the shape that I’m in

I have paid the price for love
And it ain’t cheap
Better take a long hard look
Before you leap

If the fall don’t get you, baby
And your fading heart is beating still
If the fall don’t get you
Baby, the heartache will

Next up is “Have I Got A Heart For You”, a mid-tempo song which sells the virtues of a heart on the rebound. Written by Keith Stegall, the song is a decent album track.

I would also describe track three “How Do You Fall Out of Love”, a slow ballad of heartbreak as a decent album track. The Nashville String Machine is a little obtrusive but Janie’s voice cuts through the clutter.

“Love Lies” was an early single for Mel McDaniel, reaching #33 in 1979. It would be a few more years before Mel’s career caught fire, but I though his performance of the song was excellent. For whatever reason, the song never made it to one of Mel’s albums, so I am glad that Janie covered the song; however, she should have released it as a single.

Side one of the original vinyl album closed with “Tell Me A Lie”, a song carried over from the previous album It Ain’t Easy. Columbia during the 1970s and 1980s had this annoying habit of pulling songs from an existing album, releasing it as a single, then adding it to the next album. Since albums during this period only had ten songs, this meant that if you purchased both albums, you would get only nineteen different songs at rough two and a half minutes per song. This cover of a Lynn Anderson album track (and later a top 20 pop hit for Sami Jo) reached #1 for Janie.

Tell me a lie
Say I look familiar
Even though I know
That you don’t even know my name

Tell me a lie
Say you just got into town
Even though I’ve seen you here before
Just hangin’ around

Umm, tell me a lie, say you’re not a married man
Cause you don’t know I saw you slip off your wedding band

Side two of the vinyl album opens up with “Let’s Stop Talking About It”, an up-tempo that reached #1. The song was written by the dynamic trio of Rory Bourke, Rafe Van Hoy & Deborah Allen, who collectively authored many hit singles. You can give your own interpretation to what the lyrics mean:

We’ve had a lot of conversations
We’ve analyzed our situation
There’s only so much that words can say
After awhile they just get in the way

So let’s stop talking about it
And start getting down to love
Let’s stop talking about it
We’ve already said enough

This is followed the Troy Seal-Mike Reid collaboration “Lonely People”, a quiet ballad that makes for a decent album track.

Written by Dennis Linde and Alan Rush, “Walkin’ A Broken Heart” would be released as a single by Don Williams in 1985, reaching #2. Janie does a really nice job with the song and I think the song could have been a big hit for her. I slightly prefer Don’s version but it’s a thin margin of preference.

Walkin’ down this midnight street
Just the sound of two lonely feet
Walkin’ a broken heart
Walkin’ a broken heart

Empty city, not a soul in sight
And a misty rain falls on a perfect night
To walk a broken heart
To walk a broken heart

And I know that you’re thinkin’
This couldn’t happen to you
But you’re a fool for believing
Dreams don’t fly away, cause they do.

Another slow ballad follows in “I’ve Had All The Love I Can Stand”. Janie sings it well, but the song to me is a bit overwrought and not of much interest. The Nashville String Machine is prominent in the arrangement.

The album closes with “Where’s The Fire”, a nice upbeat melody camouflaging a song of angst as the narrator asks her love why he’s in such a hurry to leave.

For me this album is a bit of a mixed bag. Janie is in good voice throughout, and I appreciated the more mature lyrics but I’d like to hear more fiddle and steel. That said, this album is quite worthwhile.

Grade: B+

Classic Rewind: Janie Fricke – ‘He’s A Heartache (Looking For A PLace To Happen)’

Album Review: Janie Fricke – ‘It Ain’t Easy’

By 1982, Janie Fricke’s career was on the upswing. After several years of charting top ten and top five hits, she finally hit #1 with “Don’t Worry ‘Bout Me Baby,” the final single from Sleeping With Your Memory. Fricke’s next single, the spectacular “It Ain’t Easy Being Easy,” a commanding countrypolitan ballad, quickly followed suit. The success of the song led to the It Ain’t Easy album, which was released in September.

She would top out at #4 with “You Don’t Know Love,” a similarly styled ballad that was equally as strong. Fricke returned to the top, and provided a change of pace, with the excellent uptempo “He’s A Heartache (Looking For A Place To Happen).” I actually first heard this song a few months ago, when I was flipping through the radio dial and happened upon the faint signal of a college radio station that was playing it. I was too enthralled with what I was hearing to actually process what was happening. It was a cool moment.

The remainder of the album is a mixed bag, with varying degrees of quality. The ballads “Tell Me A Lie” and “A Little More Love” are very good and I like “Trying To Fool a Fool.” The rest of the tracks veer uptempo and just aren’t that strong, coming off as fluff. Songs like “Too Hard on my Heart” and “Heart To Heart Talk” aren’t bad, they’re just too lightweight for my taste. The same goes for “Love Have Mercy” while “Who Better Than an Angel” is just mediocre.

It Ain’t Easy isn’t a terrible album in the least, but there is too much padding and not enough meat. The singles are incredible, but the album tracks fail to elevate the record to a higher artistic level. At least the sound is great, which is a testament to Bob Montgomery and his countrypolitan stylings, which are always in good taste, even if they sound dated today.

Grade: B

 

Classic Rewind: Janie Fricke – ‘You Don’t Know Love’

The later bluegrass arrangement of the 1980s hit:

Album Revew: Janie Fricke – ‘Sleeping With Your Memory’

1981 saw a change of producer for Janie, with Jim Ed Norman taking up the reins from Billy Sherrill for Sleeping With Your Memory. The result was incrased success for her on radio and with the industry – Janie would be named the CMA Female Vocalist of the Year in 1982.

The lead single was ‘Do Me With Love’, written by John Schweers. A bright perky slice of pop-country, this rather charming song (featuring Ricky Skaggs on backing vocals although he is not very audible) was a well-deserved hit, peaking at #4. Its successor, ‘Don’t Worry ‘Bout Me Baby’, was Janie’s first chart topper. It was written by fellow country starlet Deborah Allen with rocker Bruce Channel and Kieran Kane (later half of the O’Kanes). It’s quite a well written song, but the pop-leaning production has dated quite badly, and Janie’s vocals sound like something from musical theater.

Simon & Garfunkel’s ‘Homeward Bound’ is given a folk-pop-country arrangement which is quite engaging (Ricky Skaggs multi-tasks on this song, contributing fiddle, mandolin and banjo as well as backing vocals), but I’m not quite sure I entirely buy Janie as the folk troubadour of the narrative. The Gibb brothers (the Bee Gees) had some impact on country music by dint of writing songs like ‘Islands In The Stream’ for Dolly Parton and Kenny Rogers, and their ‘Love Me’ is a very nice mid-paced ballad.

Janie sings Larry Gatlin’s sensitive ballad ‘The Heart’ beautifully; Larry and one of his brothers add backing vocals. The arrangement is swathed with strings, and the overall effect is fairly Adult Contemporary in style, but the track is a fine showcase for Janie’s lovely voice. The wistful ballads ‘Always’ and ‘If You Could See Me Now’ are also impeccably sung. The title track is a downbeat ballad about coping with a breakup, and is quite good, though not very country.

‘There’s No Future In The Past’, written by Chick Rains, is a very strong ballad about starting to move on, which I liked a lot despite the early 80s string arrangement. The closing ‘Midnight Words’ is fairly forgettable.

While this is not the more traditional side of country with heavy use of strings and electronic keyboards, it is a good example of its kind with some decent song choices, and Janie was starting to find her own voice.

Grade: B

Classic Rewind: Janie Fricke – ‘It Ain’t Easy Being Easy’

Album Review: Janie Fricke – ‘I’ll Need Someone To Hold Me When I Cry’

Janie Fricke’s commercial fortunes began to change with the release of her fourth LP in 1980. I’ll Need Someone To Hold Me When I Cry found her working with a new producer, Jim Ed Norman, and recording stronger material. Although the Urban Cowboy pop-country trend was en vogue in Nashville at the time, Janie actually bucked the commercial trend and went in a more traditional direction. Although not eschewing string arrangements entirely, the songs on this album are much less slickly produced than her earlier work. There is audible steel and fiddle throughout — the latter instrument being played by up-and-comer Ricky Skaggs who also provided background vocals on the album’s first single and Janie’s breakthrough hit “Down To My Last Broken Heart”, which eventually climbed to #2 on the Billboard country singles chart.

The album’s second single, a remake of Ray Price’s 1962 hit “Pride”, didn’t fare quite as well, landing at #12. Although it missed the Top 10, it performed as respectably as a remake of an old traditional county dog could be expected to in the early 80s. Janie rebounded nicely when the album’s title track became the third single, which made it to #4 in the US and was a #1 hit in Canada. Written by Bob McDill and Wayland Holyfield, “I’ll Need Someone To Hold Me (When I Cry)”, with its simple lyric and stripped down-production was the song that caused me to take notice of Janie Fricke and it remains one of my favorites today.

The rest of the album is a little more pop-oriented. The best of the album cuts is Janie’s take on Churchill Kohlman’s “Cry”, which had been recorded numerous times by a variety of pop and country artists. Johnnie Ray had scored a #1 pop hit with it in 1951, it had been a #3 country hit for Lynn Anderson in 1972, and Crystal Gayle would take it to the top of the country charts in 1987. Janie’s version could have been a hit but it was rare in those days to release a fourth single from an album, and the fact that it would have been the second remake (after “Pride”) to become a single may be one of the reasons it was overlooked.

“Enough of Each Other”, about a couple falling in and out of love is also quite good. “Every Time a Teardrop Falls” is a piano and orchestra ballad that is a little bland and probably the album’s weakest track, although I can’t honestly say that any of the songs are bad. “Blue Sky Shining”, the closing track is quite pretty but also a bit on the bland side.

I’ll Need Someone To Hold Me When I Cry was Janie’s first charting album and a huge step in the right direction. She was still yet to peak commercially, but this is the album that set her on the right path. With the exception of “Pride”, everything she released from this point forward reached the Top 10, until the New Traditionalist Movement finally stopped her momentum in 1986. The album is available on a double disc along with its three predecessors. While I wouldn’t necessarily run out and buy the other three, I’ll Need Someone To Hold Me When I Cry makes the collection worth purchasing.

Grade: A –