My Kind of Country

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

Tag Archives: Jenny Yates

Album Review: Garth Brooks – ‘The Lost Sessions’

lost sessionsIn 2005 Garth came briefly out of retirement with the release of a lavish box set exclusive to Walmart, which included one disc called The Lost Sessions, a collection of offcuts from previous records with a handful of new songs. This was subsequently given a separate release with added tracks.

Opener and lead single ‘Good Ride Cowboy’ is a tribute to rodeo rider and cowboy singer Chris Ledoux, who was so famously namechecked in Much Too Young (To Feel This Damn Old)’ at the start of Garth’s career, and who had died earlier that year. He launched the song on an unsuspecting world live in Times Square, New York, during the CMA awards show, and that gave the single enough impetus to send it racing up the charts. An eventual peak of #3 made it Garth’s biggest hit since 1998. Garth did not actually write the song himself; the writers include later hitmaker Jerrod Niemann. He and Steve Wariner are among the chorus of backing vocalists on the rowdy tune.

It was followed by a duet with Trisha Yearwood, to whom he was now married. ‘Love Will Always Win’, which had been recorded in 1999. It is a pleasant enough but rather bland song, and only reached #23. The third and last single, the fiddle-led ‘That Girl Is A Cowboy’, was a new Garth co-write with Niemann and Richie Brown, two of the writers of ‘Good Ride Cowboy’. It’s quite a nice song, and the arrangement makes it one of Garth’s most traditional country records.

‘Under The Table’, another Garth song (written with Randy Taylor) may date back to the recording sessions for his self-titled debut. It is an excellent song in traditional vein, a pained ballad about trying to drink away a memory. A breezy cover of the Nitty Gritty Dirt Band’s ‘Fishin’ In The Dark’ is also very enjoyable.

Five songs have copyright dates of 1996-7, three of them Garth co-writes, and I suspect they are rejects from the Sevens recording sessions. ‘Allison Miranda’ (a Garth co-write) is a pleasantly understated story song about picking up a hitchhiker and falling in love. The heavily strung and very short (less than two minutes) ‘American Dream’, which he wrote with Jenny Yates, is a gentle ballad about growing up in America, which feels like an unfinished first draft, consisting of only two short verses disguised by an orchestra. ‘Meet Me In Love’ is a loungy jazz style number.

My favourite of these tracks is DeWayne Blackwell’s ‘Please Operator (Could You Trace This Call)’, a solidly country and entertaining drinking song about a man who’s consumed so much to forget his troubles that he has no idea where he is.

I also very much like Bruce Robison’s catchy ‘She Don’t Care About Me’, one of three songs Garth subsequently passed on to his former sideman Ty England for the latter’s 2000 Garth-produced Highways and Dancehalls album. The pleasant Tex-Mex ‘My Baby No Esta Qui No More’ is also enjoyable, but ‘I’d Rather Have Nothing’ is a bit cluttered and just okay.

Alison Krauss harmonises on the chorus of ‘For A Minute There’, a gently melancholic tune about a remembered romance which dates from 1999, and which Garth wrote with Kent Blazy. The western swing ‘Cowgirl’s Saddle’ is an attempt at quirky humor from 2001; I enjoy Garth doing this style and it sounds great musically; but the lyric (another of his co-writes) is a bit off-color. Dating from 2002, Steve Wariner and Marcus Hummon’s ‘You Can’t Help Who You Love’ is a self-justifying cheating song which is quite good, but over-produced. The brand new ‘I’ll Be The Wind’ is plain dull.

The set closes with a delicate reading of the 1950s anti-war folk song ‘Last Night I Had The Strangest Dream’.

This is a very varied, if not terribly cohesive album, with elements of most of the styles Garth has pursued over the years. It certainly wasn’t worth buying the original boxed set for, but is a better bet as a standalone especially now that used copies are available relatively cheaply.

Grade: B

Album Review: Garth Brooks – ‘Scarecrow’

scarecrow2001’s Scarecrow was the last full-length studio album that Garth released before his long sabbatical from music, and like most of his albums, it is an eclectic collection encompassing a variety of styles, although there seems to have been more of an effort to appeal to country fans than on past projects.

The lead single, “When You Come Back To Me Again” was originally included on the soundtrack to the film Frequency. Written by Garth and Jenny Yates, it is an AC-leaning ballad, and despite the overwrought string arrangement, it’s one of Garth’s better non-country efforts. It was apparently a little too-AC for country radio. It peaked at #21, becoming one of a very few number of Garth Brooks singles to miss the Top 20.

Before the album was released, Capitol dug back into its archives and went back to Garth’s 1990 collection No Fences, and released “Wild Horses”, with a newly recorded vocal track, as his next single. Then it was back to Scarecrow for the catchy and sparsely produced “Wrapped Up In You”, which became the album’s biggest hit, peaking at #5. It was the only single from Scarecrow to reach the Top 10. It was followed by a shouty duet with future wife Trisha Yearwood, the Delbert McClinton-Gary Nicholson tune “Squeeze Me In”, which reached #16. Garth makes his best attempt at a Delbert McClinton impersonation, but sounds out of his element here. Trisha sounds slightly more at home. “Thicker Than Blood”, a nice midtempo number again penned by Garth and Jenny Yates, deserved more attention than it received. It peaked at #18.

Like much of Garth’s work, Scarecrow is a mixed bag. It’s a very incohesive album as Garth attempts to appeal to every niche of his vast fanbase, and in doing so often comes across as insincere. There is the exaggerated twang on the more country numbers like “Beer Run”, a novelty duet with George Jones that wears thin after the first listen, the complete lack of a twang on the overblown power ballads like “Mr. Midnight” and “The Storm” and the awkward attempt to be a bluesman on “Squeeze Me In”. It all leaves the listener wondering just who the real Garth Brooks really is and what kind of music would he really have made had he not been so obssessed with breaking sales records.

That being said, Scarecrow has more than its fair share of enjoyable moments. “Pushing Up Daisies” is a nice cover of a Kevin Welch tune from 1995 and should have been released as a single. “Don’t Cross The River” is a countrified version of a song originally recorded in 1972 by the pop group America. The arrangement features a lot of banjo, dobro and fiddle and it works surprisingly well, and “Rodeo or Mexico” is a very enjoyable number written by Garth with Paul Kennerley and Bryan Kennedy.

Scarecrow is probably one of Garth’s more forgettable albums but on average the plusses outweigh the minuses. Garth fans will like it and even more casual listeners will find plenty to enjoy.

Grade: B

Album Review: Sammy Kershaw – ‘Don’t Go Near The Water’

1991 was the height of the neotraditional movement, and the period saw a host of exciting new artists rooted in traditional country music breaking through. It was the ideal time for Sammy Kershaw, with his astonishingly George Jones soundalike voice, to make his debut. Buddy Cannon and Norro Wilson produced his first album for Mercury, and did a fine job showcasing the artist’s voice.

His debut single ‘Cadillac Style’ was an immediate success, reaching #3. It sunnily celebrates the power of true love to overcome the limitations of poverty. The sultry title track (penned by Chapin Hartford and Jim Foster) relates the passions of first love somewhere in the South. Imbued with Southern atmosphere, the record peaked just outside the top 10.

The record’s finest song, ‘Yard Sale’ was Sammy’s third straight top 20 hit, and his finest single to date. Written by Dewayne Blackwell and Larry Bastian, it depicts in precise detail the sad aftermath of a failed marriage, with the couple’s goods being sold off cheap to all comers, leading to Sammy’s sardonic comment,

Ain’t it funny how a broken home can bring the prices down?

This excellent song would have been perfect for George Jones himself at his peak. While Kershaw isn’t quite the superlative interpreter Jones is, he still delivers the song very well.

The final single, ‘Anywhere But Here’, was Sammy’s second top 10. A vibrant up-tempo treatment belies the protagonist’s broken heart and desire just to get away from the scene of his broken heart.

Bob McDill’s regretful ‘Real Old Fashioned Broken Heart’ has a lovely fiddle/steel laden arrangement. The protagonist finds his sophisticated modern worldview collapses when his heart gets broken, and he reverts to an older style of dealing with heartbreak:

I play Hank Williams on the jukebox
Order up old whiskey at the bar
And through my tears I light another Lucky
I’ve got a real old fashioned broken heart

This is another gem, as is ‘Kickin’ In’, a heartbreak ballad written by Keith Stegall and Roger Murrah, with a pretty melody and fiddle underlining the sad mood.

Underlining the comparisons to George, Sammy picked an obscure George Jones song to record. ‘What Am I Worth’ has the protagonist plaintively questioning his value regardless of other achievements in life, because his loved one is rejecting him. A vivacious up-tempo mood belies the downbeat lyric.

My favorite track is the hardcore cheating song with a twist – both parties in the marriage are running around behind the other’s back, ‘Every Third Monday’. It was written by Larry Cordle, Larry Shell and Billy Henderson. Also with a twist, the ballad ‘I Buy Her Roses’ initially sounds like a sweet love song, but there is a sting in the tale. The protagonist’s loved one has actually left him, and he is buying the flowers he always forgot to do when they were together. A sincerely delivered vocal sells the song effectively.

Closing out the set, ‘Harbor For A Lonely Heart’ is a pleasant but not particularly memorable ballad written by Kostas and Jenny Yates.

While Kershaw’s vocal similarity to George Jones meant he perhaps lacked a degree of individuality, there are far worse singers to emulate. This was a pretty solid album with some very fine moments, and a promising debut. It sold well at the time, and was certified platinum. Used copies can now be found very cheaply, and it’s a worthwhile addition to any collection.

Grade: A-