My Kind of Country

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

Tag Archives: Janis Gill

Classic Rewind: The Sweethearts of the Rodeo and Vince Gill – ‘So Sad (To Watch Good Love Go Bad)’

Perhaps we should dedicate today’s Classic Rewind to Blake Shelton and Miranda Lambert, who announced yesterday they have divorced. This cover of an Everly Brothers classic is performed by another onetime country couple.

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Favorite Country Songs Of The 80s: Part 7

It seems to me that I never did finish off this series, the last installment being posted on February 11, 2014 (and the installment before that appeared April 9,2013). Here are some more songs from the 1980s that I liked. This is an expanded and revised version of the February 11, 2014 article which was a rush job :

Shame On The Moon” – Bob Seger
Bob’s 1982 recording of a Rodney Crowell song charted on the country charts in early 1983, reaching #15 in the process. The song was a bigger hit on the pop charts, reaching #2 for four weeks.

Finally” – T. G. Sheppard
He worked for Elvis, sang background for Travis Wammack, and eventually emerged with a solo career worth noting, racking up 42 chart singles from 1974-1991. This 1982 single was one of fourteen #1 record racked up by Sheppard, eleven of them reaching #1 during the 1980s.

Doesn’t Anybody Get High On Love Anymore” – The Shoppe
The Shoppe was a Dallas based band that hung around for years after their 1968 formation. In the early 1980s they had eight chart records, but this was the only one to crack the top forty, reaching #33. They had a record deal with MTM Records in 1985, but that label vanished, taking the Shoppe with them.

Crying My Heart Out Over You” – Ricky Skaggs
Ricky Skaggs was one of the dominant artists of the first half of the 1980s with his bluegrass/country hybrid. Starting with 1981’s “You May See Me Walking” and ending with 1986’s “Love’s Gonna Get You Some Day“, Skaggs ran off sixteen consecutive top ten singles with ten of them reaching number one, This 1982 classic was the first chart topper. Eventually Ricky returned to straight bluegrass, but I like the hybrid recordings better. In my original article I spotlighted “Honey (Open That Door)“, a straight forward country Mel Tillis song recorded by Webb Pierce.

Don’t Stay If You Don’t Love Me” – Patsy Sledd
Stardom never really happened for Patsy, who was a good singer marooned early in her career on a bad label. She was part of the George Jones-Tammy Wynette show in the early 1970s. This song reached #79 in 1987.

“Nice To Be With You” – Slewfoot
This band replaced Alabama as the feature band at the Bowery Club in Myrtle Beach. This was their only chart single, a cover of Gallery’s #4 pop hit from 1972 that reached #85 in 1986.

King Lear” – Cal Smith
The last chart hit for the former Texas Troubadour. This song reached #75 in 1986.

“A Far Cry From You” – Connie Smith
After a six year recording hiatus, the greatest female country recording artist of all time returned with this one-shot single on the Epic label. It’s a great song but received no promotional push at all from the label landing at #71 in 1985. Unfortunately, this single has never appeared on an album.

“The Shuffle Song” – Margo Smith
Exactly as described – a shuffle song that reached #13 for Margo in early 1980. Margo had a brief run of top ten hits in the middle and late 1970s but the string was about over. In my prior article I featured “He Gives Me Diamonds, You Give Me Chills” but The Shuffle song is actually my favorite 80s hit from Margo. She lives in The Villages in Florida and still performs occasionally.

Cheatin’s A Two Way Street” – Sammi Smith
Her last top twenty song from 1981. Sammi only had three top ten hits but made many fine records. This was one of them.

Hasn’t It Been good Together” – Hank Snow and Kelly Foxton
The last chart record for the ‘Singing Ranger’. The record only got to #78 for the 65 year old Snow in 1980 but I couldn’t let pass the opportunity to acknowledge the great career of the most successful Canadian country artist. By any legitimate means of chart tracking, his 1950 hit “I’m Moving On” is still the number one country hit of all time. Hank had perfect diction and was a great guitar player.

Tear-Stained Letter” – Jo-El Sonnier
A late bloomer, this was the forty-two year old Jo-El’s second of two top ten records and my favorite. It reached #8 in 1988. There were brief periods in the past when Cajun music could break through for a hit or two. Eddy Raven was the most successful Cajun artist but most of his material was straight-ahead country.

Sometimes You Just Can’t Win” – J.D. Souther and Linda Ronstadt
George Jones charted this record twice, but it’s such a good song it was worth covering. This version went to #27 in 1982. J.D had a big pop hit in 1980 with “You’re Only Lonely” which reached #7.

Honey I Dare You” – Southern Pacific
Southern Pacific was a bunch of guys who previously played with other bands such as Creedence Clearwater Revival, the Doobie Brothers and Pablo Cruise, making some real good country music in the process. This was one of their four top ten hits of the 1980s. “A Girl Like Emmylou” from 1986 only reached #17 but the song tells you where this band’s heart was located.

Lonely But Only For You” – Sissy Spacek
Loretta Lynn wanted to Spacek to portray her in the movie Coal Miner’s Daughter, and it turns out that Sissy can really can sing. This song reached #15 in 1983.

Standing Tall” – Billie Jo Spears
Billie Jo Spears, from Beaumont, Texas, was incredibly popular in England and Ireland, where “Blanket On The Ground” and “What I’ve Got In Mind” were top five pop hits in the mid 1970s and she had many more lesser successes. Many of her later albums were not released in the US but she had a substantial US career with thirty-four charted records, including two #1 hits. “Standing Tall” reached #15 in 1980.

Chain Gang” – Bobby Lee Springfield
More successful as a songwriter than as a performer, Springfield had two chart sings in 1987 with “Hank Drank” (#75) and “Chain Gang” (#66) which was NOT the Sam Cooke hit. Bobby Lee was both too country and too rockabilly for what was charting at the time. I really liked All Fired Up, the one album Epic released on him.

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Favorite Country Songs of the 1980s: Part 7

honey i dare youIt’s been a while since my last installment of this series. Here are some more songs from the 1980s that I liked and remember. See if you recall any of these records.

Shame On The Moon” – Bob Seger
Bob’s 1982 recording of a Rodney Crowell song charted on the country charts in early 1983, reaching #15 in the process. The song was a bigger hit on the pop charts, reaching #2 for four weeks.

Doesn’t Anybody Get High On Love Anymore” – The Shoppe
The Shoppe was a Dallas based band that hung around for years after their 1968 formation. In the early 1980s they had eight chart records, but this was the only one to crack the top forty, reaching #33. They had a record deal with MTM Records in 1985, but that label vanished, taking the Shoppe with them.

Honey (Open That Door)” – Ricky Skaggs
The early 1980s belonged to Ricky Skaggs as he racked up eight #1 records before the end of 1984. Some of his records were bluegrass/country hybrids, others, like this cover of Mel Tillis-penned Webb Pierce record were more straightforward country. This record topped the charts in 1984 and had a very amusing video to accompany it.

A Far Cry From You” – Connie Smith
After disappearing from the charts for six years, Connie emerged with this excellent single in 1985. Epic didn’t give the record much of a promotional push so it only reached #71, but it was one of my ten favorite records for the year 1985.

He Gives Me Diamonds, You Give Me Chills”– Margo Smith
Margo Smith has a short run of chart success in the late 1970s but by the end of the decade her run was almost over. This 1980 record would stall at #52 and other than a pair of duets with Rex Allen Jr., she would not see the top forty again. Margo is still an active performer and lives in the Villages, FL. When she’s feeling well, she can still yodel with the best of them.

Cheatin’s A Two Way Street”– Sammi Smith
Sammi’s last top twenty record, reaching #16 in 1981. Sammi should have become a much bigger star than she did.

Tear-Stained Letter” – Jo-el Sonnier
This Cajun accordion player had two top ten records for RCA in 1988 before fading away. Cajun has never been mainstream so he didn’t figure to have too many hits (and he didn’t). This record reached #9 and the one before it “No More One More Time” reached 7. Nothing else reached the top twenty.

Hasn’t It Been Good Together” – Hank Snow and Kelly Foxton
Hank’s eighty-fifth chart hit and the very last singles chart appearance for ‘The Singing Ranger’. This song crept to #80 in 1980. Hank would only record one more time after the album from which this album was issued, a duet album with Willie Nelson a few years later. Read more of this post

Album Review – Sweethearts of the Rodeo – ‘Rodeo Waltz’

Much like Patty Loveless’s Sleepless Nights and LeAnn Rimes’s Lady & Gentleman, Rodeo Waltz is an album comprised mainly of classic country covers. Released in 1993, it marked the duo’s debut for Sugar Hill Records. Although it didn’t produce any singles, it offered a simple honky-tonk sound that still holds up well today.

The album opens with a spirited cover of Johnny Cash’s “Get Rhythm” that benefits from the abundance of petal steel and fiddle flourishes throughout and the distinct drum beat. While they stick moderately close to Cash’s original recording, save for updating the sound, they keep the sing-a-long nature of the song intact.

They continue to honor tradition with the rest of the covers, too. Don Robertson and Hal Blair’s “Please Help Me I’m Falling” is turned into a gorgeous mandolin soaked ballad and their sultry take on Tex Ritter and Frank Harford’s “Long Time Gone” brings a new appreciation to story of a woman anticipating their man’s reaction to their leaving.

Equally as well executed is their take on Gordon Lightfoot’s folksy “Steel Rail Blues” which benefits greatly from the use of harmonica and gently persistent drumbeat. I love how they seem to build on Lightfoot’s original recording by infusing the song with a bit more energy. I also enjoy their folksy almost mountain-y reading of Jesse Winchester’s “Brand New Tennessee Waltz.” It isn’t my favorite of the cover tunes included here but it’s enhanced by the sweet vocal and use of fiddle throughout.

They also do a fine job covering Robbie Robertson’s “Broken Arrow.” Known primarily as a pop song done by Rod Stewart, the sisters exceed in turning it into a country song complete with fiddle and harmonica. I love the melody and the use of mandolin to give the musical accompaniment some life.

Placed among the cover tunes is a crop of original songs, led by Don Shultz’s “Things Grow” which is their ode to life on a farm and small town existence. It isn’t as cringe worthy as that particular sub-genre today, but I’m not jumping up and down at the inclusion of them exploring that theme. Betty Harrison’s “Hoping That You’re Hoping” is better musically, but the song lacks any substance in the lyrics and is forgettable today.

I wasn’t aware they had their own version of “Jenny Dreamed of Trains,” which Janis’s then husband Vince Gill wrote with Guy Clark. Gill did an excellent job when he recorded the song on High Lonesome Sound and they do a stellar version here. The sweet story of the girl Jenny (presumably written about their daughter) and her love of trains over dolls is a great lyric.

“Bluegrass Boy,” written by Gill with Shultz is an engaging love song about a guy this girl once knew and while good, it comes off a tad underwhelming. There’s nothing wrong with the song at all – it just isn’t up to the material on the rest of the project. Same goes for the traditional “Deep River Blues” arranged by Gill. I enjoyed the swampy vibe and touches of harmonica but the whole thing was a tad underwhelming. But the album turns around with the great “There One Morning.”

Rodeo Waltz is a fine country album of both well-chosen covers and original material. I can easily see why there weren’t any singles despite strong material – it just doesn’t have a sound that sits right on radio playlists. But like most non-commercial country projects, it demands to be heard. This album is widely available digitally (from Amazon and iTunes) and is worth seeking out for a listen.

Grade: B+

Album Review: Sweethearts of the Rodeo – ‘One Time, One Night’

The duo’s sophomore album, released in 1988, continues largely in the same vein as their successful debut disc — combining elements of country and rock with tight harmonies that proved very popular with radio programmers and listeners. Like its predecessor, One Time, One Night was produced by Steve Buckingham, but co-producer Hank DeVito was nowhere to be found this time around. Janis Gill continued to hone her songwriting skills, contributing two compositions co-written with Don Schlitz and one with Gail Davies. Among the collaborations with Schlitz was the album’s lead single “Satisfy You”, an uptempo Cajun-flavored number that continued the Sweethearts’ string of Top 10 hits. It peaked at #5, as did the next single, “Blue to the Bone”, which allowed them to showcase some impressive harmony singing that was somewhat reminiscent of a female version of the Everly Brothers, whose “So Sad (To Watch Good Love Go Bad)” is covered here. The Sweethearts are joined by Vince Gill for what is, in my opinion, one of the very best versions of this song, aside from the 1960 original. It is one of the standout tracks on the album and one of my favorites.

The duo also pay homage to the Beatles with their cover version of the Fab Four’s “I Feel Fine”, which they took to #9. It was the Sweethearts’ seventh consecutive Top 10 hit and they seemed to be on an unstoppable commercial roll when they suddenly and unexpectedly lost their momentum. Their next single, the Don Schlitz/Craig Bickhardt number “If I Never See Midnight Again” fizzled out at #39. This is a beautiful song with gorgeous harmonies that deserved to chart much higher. The song could quite possibly be about the same character in the duo’s earlier hit “Midnight Girl/Sunset Town”, also written by Don Schlitz, after she’s sown her wild oats. Now a little older and wiser, she’s found true love and is ready to forsake the party scene forever:

Now I don’t care if the party starts without me
And when the clock strikes twelve, drink a toast to this old friend.
I’ll be sleeping with my darling’s arms around me
And I don’t care if I never see midnight again.

At the time I thought that, as the album’s fourth and final single, the record might not have received the same promotional push from the label as the earlier releases had. That is still a possibility, but the fact remains that it marked the end of the duo’s winning streak, and they would never chart inside the Top 20 again.

Among the album cuts, “Gone Again”, the tune that Janis wrote with Gail Davies, is the most interesting. It talks about the whirlwind pace of life on the road and the personal sacrifices that come along with fortune and fame, something that the Sweethearts could likely very easily relate to at the time. “You Never Talk Sweet”, which is the other Gill/Schlitz song on the album, is also quite good. The album’s sole misstep is the Wally Wilson/Kevin Welch number “We Won’t Let That River Come Between Us”, which seems a bit forced and doesn’t quite work for me.

The Sweethearts of the Rodeo did not enjoy a long run at the top of the charts. They released two more albums for Columbia, 1990’s Buffalo Zone and 1992’s lackluster Sisters. Neither produced any hits and they were dropped from the Columbia roster. One Time, One Night is the best of their four major-label releases. It is not available digitally, but inexpensive CD copies are easy to find. It’s worth seeking out, along with their debut disc.

Grade: A

Album Review: Sweethearts Of The Rodeo – ‘Sweethearts Of The Rodeo’

The stagename adopted by the Oliver sisters was a nod to the seminal Byrds album, and fittingly the music the duo produced in their hitmaking days was energetically sunny country rock rooted in their California background.  The distinctive booming alto of Kristine Arnold takes the lead on all their work, supported by her older sister Janis Gill (then married to Vince).  Their debut record on Columbia, halfway between an EP and a full length album with just eight tracks, was produced by Hank DeVito (who also plays steel guitar) and Steve Buckingham, and they produced a sound which was very radio friendly.  The truncated length may have short-changed purchasers, but no less than five of the eight tracks were reasonably successful singles, getting their career off to a great start.

Their effervescent and beaty debut single ‘Hey Doll Baby’ was a cover of an old R&B number previously recorded by the Everly Brothers, given a rockabilly style makeover.  It just missed the top 20, but was a sign of better things to come, with an irresistibly catchy beat making up for unremarkable lyrics.  Equally catchy, but a much better song, ‘Since I Found You’ was written by the not-yet-famous Foster & Lloyd.  A bright mid-tempo love song about a one-time partier wanting to settle down for the first time now that the protagonist has met the right person, it gave them their first top 10 hit, reaching #7 on Billboard.

The next single, ‘Midnight Girl/Sunset Town’, did a little better, peaking at #4.  It was a very good Don Schlitz song about a restless young woman who feels trapped in her small town and dreams of late nights.  Its chart run was matched by Paul Kennerley’s ‘Chains of Gold’, an excellent song about the true value of love which is my favourite track:

Chains of gold
Ruby rings
Without love
Don’t mean a thing

All I want is someone to hold
True love means more than chains of gold

In fact these two #4 hits were to prove their highest ever charting hits.

Janis wrote ‘Gotta Get Away’, a pacy number about a woman afraid to let go and fall in love in case it works out badly.  This is less memorable than their other singles, but is quite enjoyable and was another top 10 hit.  The heartbroken ‘Everywhere I Turn’, which she wrote with Michael G Joyce, has a strong vocal from Kristine and is a pretty good song, but its rushed tempo detracts from the emotions and makes it feel like filler.

‘Chosen Few’, written by John Jarvis and Don Schlitz has a syncopated jerky rhythm which doesn’t really work for me.  They finish up with the stark and stripped down ballad ‘I Can’t Resist’, written by DeVito with Rodney Crowell.  This shows they had more to offer than country-rock, and also showcases Janis’s harmonies.

This was a very promising debut by a duo with a distinctive sound, a little harder edged and less sentimental than their more successful rivals the Judds could be.  Used copies of this are available very cheaply, and it’s worth checking out.

Grade: B+

Spotlight Artist: 80s Duos

This month we’ve decided to do something a little different; instead of spotlighting a single artist for the entire month, we’ll be taking a look at the careers of several of the duos that came to prominence during the 1980s:

1.  David Frizzell & Shelly West

This duo’s pedigree was impressive; he was the younger brother of the legendary Lefty Frizzell, while she was the daughter of Dottie West and the wife of another Frizzell brother.   Together they charted 11 singles on the Billboard country charts between 1981 and 1985, the first and best known of which was “You’re The Reason God Made Oklahoma”.  That #1 single had been featured in the Clint Eastwood film Any Which Way You Can, and released on the Viva label, which was distributed by Warner Bros.   They were awarded the CMA’s Duo of the Year trophy twice, and both Frizzell and West scored some solo hits during this period, though neither’s career was to enjoy any longevity.  Shelly’s divorce from Allen Frizzell may have been partially responsible for the end of her professional relationship with David.

2.   The Judds

The most commercially successful of the duos we’re spotlighting this month, the story of this mother-daughter act is well known.  Record producer Brent Maher’s daughter was hospitalized and under the care of nurse Naomi Judd in the early 1980s, which provided the opportunity for Naomi to give Maher a demo tape, leading to a live audition and on-the-spot signing with RCA/Curb.   The Judds were an immediate success, scoring 15 #1 singles between 1983 and 1990.  During that time, they also won seven Academy of Country Music awards, nine CMA trophies, and five Grammys.   A bout with Hepatitis C prompted Naomi’s retirement in 1991, while Wynonna went on to enjoy a highly successful career as a solo artist.  During the 20 years since Naomi’s retirement, the two have occasionally reunited in concert and in the studio.

3.  Sweethearts of the Rodeo

Sisters Kristine Arnold and Janis Gill sang together as children in California and began performing as The Oliver Sisters when they were teenagers.  They later renamed their act after the title of the classic album by The Byrds.   Both women married musicians; Kristine’s husband is Leonard Arnold of the band Blue Steel,  while Janis is the ex-wife of Vince Gill.   The Sweethearts of the Rodeo signed with Columbia Records in 1986, and for a brief time were one of the hottest acts in country music.  Their debut single “Hey Doll Baby” peaked just outside the Top 20.  Their second single “Since I Found  You” reached the Top 10.  Six more Top 10 hits followed.   Though they were never top record sellers, they were staples at country radio in the late 80s.  Their first two albums for Columbia racked up a number of radio hits, but after that the hits began to taper off.   After two more albums failed to generate any more hits, Columbia dropped the Sweethearts from its roster in 1992.  They re-emerged the following year on Sugar Hill Records, for whom they recorded two critically acclaimed albums in 1993 and 1996.

4.  The O’Kanes

Jamie O’Hara and Kieran Kane recorded three albums for Columbia between 1986 and 1990.  Six of the nine singles released during that period charted in the Top 10, including their best known hit “Can’t Stop My Heart From Loving You”, which reached the #1 spot in 1987.  Jamie, a native of Toledo, Ohio, had penned “Older Women”,  which had been a #1 hit for Ronnie McDowell in 1981 and  The Judds’ signature hit “Grandpa (Tell Me ‘Bout The Good Old Days)”, which won a Grammy for Best Country Song in 1986.  The two met while working as songwriters for the same publishing company.   They disbanded in 1990 and resumed their solo careers.  Brooklyn-born Kane eventually went on to become one of the founders the independent Dead Reckoning Records.

5.  Foster & Lloyd

Country rockers Radney Foster and Bill Lloyd recorded three albums together for RCA between 1987 and 1990, and in the process scored nine charting singles, four of which reached the Top 10.   Prior to landing their own record deal, they wrote “Since I Found You”, which became the breakthrough hit for The Sweethearts of the Rodeo.   Foster & Lloyd’s biggest hit was 1987’s “Crazy Over You”, which rose to #4.  Perhaps a bit too offbeat for conservative country radio in the late 80s, they were more of a critical, rather than commercial, success and disbanded in 1990.   Lead vocalist Radney Foster subsequently signed with Arista Records and enjoyed a moderately successful solo career, while Bill Lloyd went back to earning a living as a session musician.  They reunited in 2011, with the release of It’s Already Tomorrow, their first album together in over 20 years.

As always, we hope that this spotlight will provide our readers with a pleasant trip down memory lane, or perhaps inspire them to explore music that they may have overlooked or are too young to remember.

Classic Rewind: Sweethearts Of The Rodeo – ‘Hey Doll Baby’

Vince Gill’s first wife Janis Gill and her sister Kristine Arnold made up this duo, who enjoyed some success in the 1980s. This was their debut single in 1986:

Album Review: Vince Gill – ‘When Love Finds You’

Vince Gill’s seventh studio album hit shelves nearly two years after his landmark I Still Believe In You. Once again co-produced with Tony Brown, When Love Finds You continued to build on Gill’s newfound superstar status, selling 4 million copies and spawning 6 hit singles, it also built on the singer’s knack for striking the perfect balance between his pop-tinged and traditional country sound.

Meant to recapture the mega success of “I Still Believe In You”, the adult contemporary-leaning ballad “Whenever You Come Around” was showcased as the lead single, and found its way to #2 on the country singles chart in the Summer of 1994. The title track – a #3 hit – follows much of the same electric guitar and synthesizer love song format. The former features Trisha Yearwood singing harmony.

The best showcases for Gill’s fast-fingers guitar playing comes from the album’s pair up-tempo singles. Proving that a lusty ode to womankind can be done right, “What The Cowgirls Do”, written by Vince with Reed Nielsen, rocks hard with a healthy dose of piano and guitar, and the charm of the lyrics – “they love to go all night, and treat you right” – fall just short of chauvinism. Even better is the contemporary country sounds of “You Better Think Twice”, which finds the singer urging a would-be notch on his buddy’s belt to rethink her feelings. Layers of piano and hard-hitting bass playing by Michael Rhodes make it a good time top-tapper. Both songs hit #2 on the country chart.

As good as those up-tempos are, two other singles steal the spotlight on When Love Finds You. The stone country weeper “Which Bridge To Cross (Which Bridge To Burn)”, co-written with the legendary Bill Anderson, tells of a man in love with two women and at a loss over which one to choose. Here, a tinkling honky-tonk piano and a crying fiddle frame Gill’s high lonesome delivery of a stellar lyric. Best remembered today is the perennial “Go Rest High On That Mountain”, featuring Patty Loveless and Ricky Skaggs on harmony. Gill began writing the eulogic ballad after the death of Keith Whitley in 1989 but didn’t finish it until 4 years later following the death of his brother.

There are really no songs here in need of skipping. On the roadhouse-flavored “South Side of Dixie”, co-written with Delbert McClinton, Gill again kicks up his heels and showcases his guitar skills. “If There’s Anything I Can Do” hits just the right groove of pop-country perfection as does “Maybe Tonight”, which Gill co-wrote with his then-wife Janis. Coincidentally, another of the album’s tracks was written with Amy Grant, who would become Vince’s second wife. “If I Had My Way” is a more spiritual and humanitarian love song than a foreshadowing of a romantic relationship, and features a stripped down production.

When Love Finds You found an artist in his commercial prime, and delivering the goods to as many people as he ever would. Vince Gill does not disappoint the masses with this release, be they neo-traditionalist or converted rock and roll fan.

Grade: A-

Buy it at amazon.

Album Review: Vince Gill – ‘I Still Believe In You’

Released in 1992, this album transformed Vince from star to superstar, with four of the five singles hitting #1 on Billboard, and excellent sales figures and a string of awards for the album itself. It showcases Vince Gill at his very best, with lovely soaring vocals, supported by tasteful and subtle production overseen by Tony Brown. Vince wrote or co-wrote every song, and the quality is exceptionally high. Backing singers include Alison Krauss and Dawn Sears.

The title track was Vince’s very first #1 hit. It won Vince and co-writer John Barlow Jarvis Song of the Year awards from both the ACM and CMA. Reportedly written for Vince’s then-wife Janis about their sometimes troubled relationship, the message is one of the power of true love to surmount such difficulties, and even though the couple were eventually to divorce, the song’s message stands up in its own right.

The mid-tempo follow-up, ‘Don’t Let Our Love Start Slippin’ Away’ is an appeal to a wife in a marriage which is beginning to fray at the seams, which Vince wrote with his keyboard player Pete Wasner. It is pleasant enough and quietly catchy, but pales in comparison to most of the other material. The fact that it still made it to #1 is an indication that Vince’s career was in overdrive.

Surprisingly, although it was still a big hit, the next single did not do quite as well, although I think it is abetter song. The gently mournful ballad ‘No Future In The Past’, co-written with Carl Jackson, forms a sequel of sorts to ‘When I Call Your Name’, where the protagonist accepts there is no point dwelling on his memories of the good times. Peaking at a still-respectable #3 it was the album’s poorest chart performer, possibly due to competition for airplay from ‘The Heart Won’t Lie’, his duet with Reba.

It was a change of pace and back to the top of the charts with the next single, the lively and amusing ‘One More Last Chance’, written with Gary Nicholson. Vince begs his woman for mercy after one too many nights out with the boys. Delbert McClinton guests on harmonica, and the video (but not the song) featured a cameo from George Jones, whose own life probably inspired the lines:

Well, she might’ve took my car keys
But she forgot about my old John Deere

There was enough juice left in the album for a fifth single, and yet another #1 with the lyrically bleak but beautiful sounding ‘Trying To Get Over You’ (written with Gary Nicholson), where he confesses that “it’ll take dying” to help him get over the woman who has broken his heart.

My favorite track is another gorgeous ballad, the absolutely beautiful ‘Love Never Broke Anyone’s Heart’, written with Jim Weatherly. This finds Vince offering wise words of consolation to a woman who has suffered a broken heart:

It’s not love that causes the pain
Whenever a heart has been shattered
It’s the losing of love that’s to blame

Love never broke anyone’s heart
It never left anyone scarred
It’s not really love
If it tears you apart
Love never broke anyone’s heart

Andrea Zonn’s solemn fiddle and John Hughey’s sympathetic steel add to the mood set by the perfectly judged vocal and lovely melody.

‘Under These Conditions’ is an agonized almost-cheating song, with two potential lovers held back from a good relationship from the fact that both are already married with children. It is another excellent song and performance, written by Vince with Max D Barnes. ‘Say Hello’ (another co-write with Pete Wasner) is a traditional shuffle on another heartbreak theme, with prominent harmonies.

Romantic ballad ‘Nothing Like A Woman’, written with Reed Nielsen, has a mellow, more AC feel than the bulk of the material and I don’t care for it as much, but it is very well done. I preferred the uptempo appeal to a woman being led astray by a persuasive liar’s ‘Pretty Words’, written with Don Schlitz.

The best selling album of Vince’s career, it has been certified quintuple platinum and was deservedly the CMA Album of the Year in 1993, and also helped him with his run of CMA Male Vocalist titles (1991-1995) and his wins as Entertainer of the Year in 1993 and 1994. It is excellent from start to finish, and warmly recommended. Used copies are available incredibly cheaply, making this a bargain not to be turned down.

Grade: A+

Album Review: Vince Gill – ‘Pocket Full of Gold’

Released in 1991, Vince Gill’s fifth album continued to build on the success of the double-platinum selling and career-changing When I Call Your Name. There must have been enormous pressure to produce a follow-up disc that would confirm that the success of his long overdue commercial breakthrough was no fluke. Fortunately, Pocket Full of Gold, did not disappoint. His most traditional album to date, Pocket Full of Gold was a more cohesive collection than its predecessor, and marked the beginning of a more consistent track record at radio, as for the first time, all of the singles released from one his albums reached the Top 10.

Once again, Tony Brown was on board for production duties. Also returning to the studio was Patty Loveless, who sang harmony on the album’s title track, in what was seen as an attempt to recreate the magic of “When I Call Your Name”. The earlier record is better remembered and to this day casts a long shadow over “Pocket Full of Gold”; however, the latter is an excellent song in its own right. Written by Gill with Brian Allsmiller, it tells the story of a married man who slips his wedding ring off his finger when he meets a hot young dish in a bar. The song ends with a dire warning:

Some night you’re gonna wind up on the wrong end of a gun,
Some jealous guy’s gonna show up, and you’ll pay for what you’ve done
What will it say on your tombstone?
“Here lies a rich man, with his pocket full of gold”.

The tune peaked at #7, breaking a long-standing unwritten rule that an artist could not successfully release three consecutive ballads as singles. However, for the follow-up single, Gill and MCA did opt for a change of pace, releasing the uptempo and decidedly less substantive “Liza Jane”, which Vince wrote with Reed Nielsen. A lightweight song intended to be a fun summertime release, it also reached #7 on the charts. After that, it was back to ballads again for the third single. “Look At Us”, written by Vince and Max D. Barnes is a story of a married couple who has overcome some serious obstacles and emerged with an even stronger union. It was largely thought to be a semi-autobiographical number, and Vince’s wife Janis appeared with him in the music video. It’s a beautiful song, but the lyrics seem a bit awkward today since the Gills eventually divorced. Backstory aside, it’s a great song that reached #4.

The album’s fourth, final, and highest-charting single was Vince’s solo composition “Take Your Memory With You”. Though the title suggests another ballad, it’s a midtempo number that is heavy on fiddle and steel. It peaked at #4 in early 1992.

Among the album cuts, there are three other songs that had the potential to be hit singles: “The Strings That Tie You Down”, which was another co-write with Max D. Barnes, the stripped-down “If I Didn’t Have You In My World”, co-written with Jim Weatherly, and the Curtis Wright composition “What’s A Man To Do”.

Pocket Full of Gold is one of those rare albums that is so consistent, it’s difficult to pick out any of the songs as favorites. That’s not to say, however, that there isn’t any fluff. Vince’s composition “A Little Left Over” doesn’t quite match the quality of the other songs on the album, and the Jim Lauderdale and John Leventhal tune “Sparkle”, which closes the album is a throwaway track. Sandwiched in between the landmark When I Call Your Name and the best-selling album of Vince’s career I Still Believe In You, Pocket Full of Gold tends to be overlooked. It is, however, better than either of those albums, even though its singles weren’t quite as successful. Along with 1998’s The Key, it is my favorite album in the Gill catalog, and as such, is highly recommended. CD and digital copies are widely available.


Grade: A+

Album Review: Vince Gill – ‘The Way Back Home’

Vince’s third and last release for RCA (in 1987) was almost a full length album, with nine tracks. Produced by Richard Landis and recorded in LA, with West Coast country-rock musicians like Jay Dee Maness on steel, and an all-star cast of backing singers including Rodney Crowell, Rosanne Cash, Emmylou Harris, Bonnie Raitt, and Vince’s wife Janis and her sister Kristine Arnold (who as the Sweethearts of the Rodeo were rising stars at the time). Unfortunately, too many are used together, with an almost choir effect on some tracks which is not suited to the material, most of which Vince wrote or co-wrote.

One exception was the first single and biggest hit from the album, peaking at #5 on Billboard. The sympathetic look at a modern day ‘Cinderella’ who the protagonist might just take away from her neglectful husband, was written by Reed Nielsen. While it is catchy and likeable, it is largely forgotten today, and lacks the weight of Vince’s classics.

The perky ‘Let’s Do Something’ did rather less well at #16; it is quite enjoyable but a bit too much is going on in the production. The playfully up-tempo ‘Everybody’s Sweetheart’ just missed the top 10, peaking at #11. It complains, just a little tongue in cheek when he says he should keep her “barefoot and pregnant all the time”, in order to keep at home a wife the protagonist never sees thanks to her pursuit of stardom. It appears to have been partly inspired by Vince’s relationship with Janis.

‘The Radio’ is a classsic lonesome Vince Gill ballad with lovely soaring vocals. It only just scraped into the top 40, almost certainly because with Vince halfway out of the door, the label was disinclined to promote it. It is much better than that peak would imply. Also very good, although perhaps a little sentimental for some tastes, the beautifully sung title track reflects on the tragedy of missing children. Emmylou Harris’ distinctive harmony is haunting, although the choir effect of massed backing vocals on the chorus is a bit too much; they should have kept it stripped down with just Emmylou supporting Vince.

There is a certain amount of filler, including ‘Baby, That’s Tough’, a rather underwhelming co-write with Texas songwriting great Guy Clark. ‘Losing Your Love’ is a pleasant ballad with an attractive melody, written with Hank DeVito and Rhonda Kye Fleming, while ‘Something Missing’, written by Vince with Michael Clark, is boring. ‘It Doesn’t Matter Any More’ is a cover of an old Paul Anka pop song.

This was a step in the right direction. The next, and a defining one, was Vince’s move to MCA, where Tony Brown took over production duties. This resulted in his first masterpiece, When I Call Your Name, which I reviewed back in 2009 as part of our look back at the Class of ’89: https://mykindofcountry.wordpress.com/2009/04/05/class-of-89-album-review-vince-gill-when-i-call-your-name/

Used copies of the CD are available very cheaply.

Grade: B+