Country music from a fan's point of view since 2008
1959: Billy Bayou — Jim Reeves (RCA Victor)
1969: Until My Dreams Come True — Jack Greene (Decca)
1979: Every Which Way But Loose — Eddie Rabbitt (Elektra)
1989: Big Wheels In The Moonlight — Dan Seals (Capitol)
1999: Stand Beside Me — Jo Dee Messina (Curb)
2009: She Wouldn’t Be Gone — Blake Shelton (Warner Bros)
2019: Tequila — Dan + Shay (Warner Bros. Nashville)
2019 (Airplay): This Is It — Scotty McCreery (Triple Tigers)
1959: Billy Bayou — Jim Reeves (RCA Victor)
1969: Daddy Sang Bass — Johnny Cash (Columbia)
1979: Every Which Way But Loose — Eddie Rabbitt (Elektra)
1989: Song of the South — Alabama (RCA)
1999: Stand Beside Me — Jo Dee Messina (Curb)
2009: She Wouldn’t Be Gone — Blake Shelton (Warner Bros)
2019: Tequila — Dan + Shay (Warner Bros. Nashville)
2019 (Airplay): Girl Like You — Jason Aldean (Broken Bow)
During the late 1960s-early 1970s, Columbia Records tried to mine their back catalog of songs by releasing two album sets with gatefold covers. These typically took three different directions:
A) Mixed artists compilations of singles, album tracks (often Columbia artists covering hits of artists on other labels).
B) Compilations of an artists’ miscellaneous older singles and album tracks into a two-album set. In some cases (The World of Ray Price comes to mind) the singles would represent remakes of the original hits recorded in stereo and often with slick ‘Nashville Sound’. In other cases (such as The World of Johnny Cash, The World of Lynn Anderson, The World of Tammy Wynette or The World of Flatt & Scruggs) the compilation consisted of album tracks from out of print albums with perhaps a few singles mixed in 1960. C) Re-recordings of an artist’s greatest hits, but not utilizing the slick ‘Nashville Sound” production often associated with country production of the period. I can think of only two albums that fit
C) Re-recordings of an artist’s greatest hits, but not utilizing the slick ‘Nashville Sound” production often associated with country production of the period. I can think of only two albums that fit in this category. One of these albums was The World of Johnny Horton, where Columbia had some material in the can which had light post-production applied to some tracks after Horton’s premature death in 1960.
The other album was The Carl Smith Anniversary Album: 20 Years of Hits.
Largely forgotten today, or remembered as the father of Carlene Carter, during the 1950s Carl Smith was a huge star, ranking behind only Webb Pierce, Eddy Arnold and, Hank Snow among the stars of the 1950s. His songs were solidly country; however that was nothing revolutionary or pioneering about his sound as many of Carl’s hits could have fit comfortably on 1940s country playlists. Although his success fell off sharply after rock & roll hit, still he persevered long enough to roll up 93 chart hits by the time he retired in the mid-1970s.
Although Carl had a very good voice, there was too much east Tennessee in Carl’s voice for him to make the Jim Reeves/Eddy Arnold/Ray Price turn toward pop balladry and his voice was far too deeply masculine for him to record the effeminate sounds of rock & roll or doo wop. Still he continued to have a number of top twenty hits during the 1960s. Although Merle Haggard is given deserved credit for the western swing resurgence of the 1970s, Carl’s music had been turning toward western swing sounds during the latter 1960s.
With this album, many of Carl’s biggest hits were recast as western swing, with other songs given a more jazzy feel just short of western swing.
Here are the songs on the album with some comments on each:
“Hey Joe” was a 1953 hit for Carl, spending eight weeks at #1 in 1953. This recording has a definite swing arrangement.
“Back Up Buddy” reached #2 for Carl in 1954
“She Called Me Baby” was a minor hit for Carl (#32 Billboard / #20 Record World) in 1965. The song was a cover of a Patsy Cline hit from 1962 and Charlie Rich would take the song to #1 in 1974. The arrangement on this version differs little from Carl’s 1965 recording with some extra horns being the main difference.
“Deep Water” would prove to be Carl’s biggest hit of the 1960s, reaching #6 on Record World and #10 on Billboard in 1967. Written by Fred Rose and recorded by Bob Wills (among others), this version differs little from Carl’s 1967 recording, with some extra horns being the main difference.
“Foggy River” was the follow-up to “Deep Water” breaking into the top twenty. The arrangement is an up-tempo modern country arrangement minus the strings of the Nashville Sound. Kate Smith had a pop hit with the song in 1948.
“Pull My String And Wind Me Up” was a top twenty hit for Carl in 1970. I recall hearing this on the radio so I think that this was the jazzy version released as a single.
“Heartbreak Avenue” was released as a single in1969. The song is a slow ballad and features a bluesy arrangement and vocal by Carl.
“Good Deal Lucille” was a single released in 1969 that broke into the top twenty. The version on this album swings a little harder than the single release.
“It’s All Right” was not released as a single but has a nice swing feel with some nice saxophone.
“I Love You Because” was a #3 pop hit for Al Martino in 1963 and was recorded as an album track that same year by Jim Reeves (and was released as a posthumous Jim Reeves single in 1976). The song was written by blind country singer Leon Payne and reached #4 for Leon in 1949. Carl’s 1969 release reached #14 – the single was very similar to this recording. Basically, the steel guitar is the lead instrument for much of this track.
“I Overlooked An Orchid” was an early recording for Carl Smith. Released in 1950, the song never charted but was a regional hit for Carl, and apparently sold quite well despite its lack of chart activity. The song would become a #1 hit for Mickey Gilley in 1974.
‘Mister Moon” was Carl’s second hit from 1951, a song that reached #4 and spent 17 weeks on the charts. The song features standard country production but no strings or background singers.
“I Feel Like Cryin’” reached #7 in early 1956 as the B side of “You’re Free To Go” which topped out at #6. Again the song features standard production minus strings, but with some harmony vocals.
“There She Goes” reached #3 for Carl in 1955 and spent 25 weeks on the charts. Jerry Wallace would have a pop hit with the song in 1961. Once again the song features standard production minus strings, but with some harmony vocals.
“Let Old Mother Nature Have Her Way” was Carl’s fourth chart hit for 1951 and his biggest ever hit reaching #1 for eight weeks and spending thirty-three weeks on the charts. This recording is a slow ballad with a jazzy, but not western swing, feel to it.
“Loose Talk” was Carl’s last #1 single reaching the top in early 1955 and staying there for seven weeks during its thirty-two week chart run. The song would be a big hit for the duo of Buck Owens & Rose Maddox in 1961 and become a country standard. The song was written by Freddie Hart and verges on western swing in this version.
“Are You Teasing Me” is a cover of a Louvin Brothers song that reached #1 for Carl in 1952, his third consecutive #1 record. This version is given a jazzy arrangement.
“Don’t Just Stand There” was the following up to “Let Old Mother Nature Have Her Way” and it also spent eight weeks at #1, although it faded off the charts after only twenty-four weeks. I would describe this recording as solidly western swing.
“If Teardrops Were Pennies” reached #8 for Carl in 1951, his third charted single of the year. Porter & Dolly would take the song to #3 in 1973.
“I Betcha My Heart I Love You” dates back to Bob Wills, and while no one ever had a hit with the song, it was a staple of many country bands for years. Wanda Jackson had a nice recording of the song, but Carl’s rendition here really swings. Carl himself recorded the song in 1950 but without any chart action.
The Carl Smith Anniversary Album: 20 Years of Hits remains one of my favorite albums, one that I pull out and play frequently. Over the years I have dubbed it onto cassette tapes and also made digital copies of the album. To my knowledge, it has only ever been released on vinyl.
Carl Smith is a member of the Country Music Hall of Fame and while his 1950s output has been adequately available his post-1950s output has been shamefully under-represented in the digital era.
1959: Billy Bayou — Jim Reeves (RCA Victor)
1969: Daddy Sang Bass — Johnny Cash (Columbia)
1979: Why Have You Left The One You Left Me For — Crystal Gayle (United Artists)
1989: What I’d Say — Earl Thomas Conley (RCA)
1999: Stand Beside Me — Jo Dee Messina (Curb)
2009: Country Boy — Alan Jackson (Arista Nashville)
2019: Tequila — Dan + Shay (Warner Bros. Nashville)
2019 (Airplay): Girl Like You — Jason Aldean (Broken Bow)
1959: Billy Bayou — Jim Reeves (RCA Victor)
1969: Daddy Sang Bass — Johnny Cash (Columbia)
1979: Why Have You Left The One You Left Me For — Crystal Gayle (United Artists)
1989: Deeper Than The Holler — Randy Travis (Warner Bros)
1999: Wrong Again — Martina McBride (RCA Nashville)
2009: Start A Band — Brad Paisley feat. Keith Urban (Arista Nashville)
2019: Speechless — Dan + Shay (Warner Nashville)
2019 (Airplay): Sixteen — Thomas Rhett (Valory)
1959: Billy Bayou — Jim Reeves (RCA Victor)
1969: Daddy Sang Bass — Johnny Cash (Columbia)
1979: Baby I’m Burnin’ — Dolly Parton (RCA Records)
1989: She’s Crazy For Leaving — Rodney Crowell (Columbia)
1999: Right On The Money — Alan Jackson (Arista)
2009: Already Gone — Sugarland (Mercury Nashville)
2019: Speechless — Dan + Shay (Warner Nashville)
2019: Good Girl — Dustin Lynch (Broken Bow)
The summer of 1968 was the first year in which I had a steady summer job, meaning that it was the first year in which I had a little cash which with to purchase record album. Thanks to being a Navy brat, I had access to the Navy Exchange where I could purchase current albums for $2.50 apiece and budget albums (RCA Camden, Pickwick, Harmony) for around $1.49 each.
After a couple of weeks work and saving up money for more important things, I had about seven bucks to spare and purchased my first three albums – Country Charley Pride ($2.50), According to My Heart – Jim Reeves ($1.49) and Skip A Rope – Henson Cargill ($2.50).
Most of our readership should be familiar with Reeves and Pride, but Henson Cargill is largely out of the public’s memory.
The summer of 1968 was an interesting period in American popular music, but it was also a transitional time for country music as some of the winds of change swept across the genre. Not only was the product becoming increasing string-laden with many producers eschewing fiddle and steel all together but for the first time there were songs of social consciousness permeating the airwave as songs such as “Harper Valley PTA”, “Do You Believe This Town” and “Ballad of $40” were hits. Leading the charge was a young man named Henson Cargill, whose first Monument single “Skip A Rope” soared to #1 on the country charts for five weeks and broke into the top 25 (Billboard) or top 15 (Record World) on the pop charts.
Skip a rope, skip a rope
Oh, listen to the children while they play
Ain’t it kind of funny what the children say?
Skip a ropeDaddy hates mommy, mommy hates dad
Last night you should have heard the fight they had
It gave little sister another bad dream
She woke us all up with a terrible screamSkip a rope, skip a rope
Oh, listen to the children while they play
Ain’t it kind of funny what the children say?
Skip a ropeCheat on your taxes don’t be a fool
What was that they said about the golden rule?
Never mind the rules, just play to win
And hate your neighbor for the shade of his skinSkip a rope, skip a rope
Oh, listen to the children while they play
Ain’t it kind of funny what the children say?
Skip a ropeStab ’em in the back that’s the name of the game
And mommy and daddy are who’s to blame
Henson Cargill was a smooth-voiced native of Oklahoma whose first album Skip A Rope followed the usual template for country albums of the day – some covers of the other big hits of the day, plus some filler, but with the difference being the intelligent lyrical content of the filler. Monument label head Fred Foster, the genius behind Roy Orbison’s biggest hits saw potential is Cargill’s singing and allowed producer Don Law free reign.
The next two albums followed the same pattern, Coming On Strong featuring an antiwar song “Six White Horses” (not the Tommy Cash hit) and “She Thinks I’m On That Train” about a man being executed for a crime he didn’t do; and None of My Business continuing the leftward drift with “This Generation Shall Not Pass” and the title track.
Little kids sleepin’ with rats in their bed well it’s none of my business
It’s been a long time since they’ve been fed but it’s none of my business
Some more bad news from Vietnam and China’s playin’ with a great big bomb
I better take a pill to stay dumb cause it’s none of my businessPeople are afraid to walk their own streets but it’s none of my business
Cops can even walk on their beat but it’s none of my business
I read about a girl I forgot her name, she was screamin’ for help but nobody came
It seems like kind of a shame but it’s none of my businessTen more billion on a national debt, well it’s none of my business
People in the slums are a little upset – that’s none of my business
Kids gripin’ out of school lookin’ for a thrill, learnin’ the law’s kill or be killed
I better take another pill cause it’s none of my businessNow the preacher’s sayin’ somethin’ bout good man vow, well it’s none of my business
He said we got troubles that we gotta have sow oh it’s none of my business
Now I go to church and I meditate I don’t even mind when they pass the plate
But they stuff about my fellow man’s fate well ‘s none of my business
(They stuff about my fellow man’s fate) Lord it’s none of my business
With his fourth album The Uncomplicated Henson Cargill, Henson, already nicknamed the “Zen Cowboy”, may have finally drifted too far for country audiences. The lead single was the title track, an offbeat number written by Dallas Frazier and Sanger Shafer about the girl who left the narrator. In the tale, girl is ironing his shirts while telling him that this would be the last he ever saw of her. The song reached #18, but was essentially the end of the line for Henson’s chart success. An bitter album track titled “Reprints (Plastic People)” had the narrator of the song viewing the people around him as automatons, essentially copies of each other and incapable of independent thought.
After four albums, Henson Cargill left Monument for Mega for a 1972 album titled On The Road. From there he bounced from label to label and eventually drifted to the periphery of the music business, operating a night club.
Decreasing chart success did not mean a lack of quality in subsequent recordings. Cargill continued to record songs with thoughtful lyrics that reflected a degree of social consciousness rarely encountered in country singers of that era. Cargill was classified as folk-country and marketed to both areas. Production on his Monument recordings wasn’t hard country, usually lacking steel guitar and fiddles.
I only saw him on TV once, and he didn’t seem to be a terribly charismatic performer, although with his excellent vocals that should not have mattered. His voice had just enough grit in it to make him distinctive. Perhaps if he had been more mainstream country he might have lasted longer. He died in 2007 at the age of 66 having left behind some fine recordings.
Released in 1966 by RCA Records (my copy is a German pressing on RCA/Telefunken), Hank’s tribute takes a different approach from Wanda Jackson’s album from two years earlier, being centered around the 1967 hit single “The Country Hall of Fame”.
Largely forgotten today, Hank had a substantial career as a songwriter, performer, and occasional hitmaker, although he never was headquartered in Nashville, so he didn’t get as much promotional push from his label, and he never really maintained his own band. He was a huge favorite in England and Ireland making many trips there.
His biggest copyright as a songwriter, “Send Me The Pillow That You Dream On”, was a top five county hit for Hank in 1957 (it had been a regional hit for him in the late 1940s on another label ) and earned him a boatload of money by being frequently covered by other artists such as Dean Martin and Johnny Tillotson both had top five easy listening/top twenty pop hits with the song. Tillotson’s recording also became a top ten or top twenty pop hit in a number of European countries.
As a singer, Locklin was a wobbly Irish tenor whose voice wasn’t a perfect match for every song, but when the right song reached him, he could deliver some really big hits. “Let Me Be The One” spent three weeks at #1 in 1953, and “Please Help Me I’m Falling” spent fourteen weeks at #1 in 1960. Hank had ten top ten hits through spring 1962, but after that Arnold, even the top twenty became nearly impossible for him, until the title song to this album.
When the earlier Wanda Jackson album was released the Country Music Hall of Fame was comprised of the following performers: Hank Williams, Jimmie Rodgers, Roy Acuff, Tex Ritter and Ernest Tubb. By the time Hank’s album arrived there had been multiple inductions (in 1966 and 1967), but of the eight new inductees, four were non-performers. The newly inducted performers were “Uncle” Dave Macon, Jim Reeves, Eddy Arnold and Red Foley.
In selecting songs for this album, Hank and his producers Chet Atkins and Felton Jarvis selected songs by persons either in the Country Hall of Fame or assumed to be inducted in the upcoming years.
The album opens up with “High Noon”, a hit for Frankie Laine, but forever associated with Tex Ritter, who sang the song in the famous movie starring Gary Cooper. Hank’s voice is pitched much higher than that of Ritter, but the song, taken at a slightly faster tempo than Ritter’s version, works. The song has a straightforward country backing with a vocal chorus.
Do not forsake me oh my darling on this our wedding day
Do not forsake me oh my darling, wait wait along
I do not know what fate awaits me, I only know I must be brave
And I must face the man who hates me
Or lie a coward, a craven coward
Or lie a coward in my grave
Next up is “Four Walls”, a million seller for the then-recently departed Jim Reeves in 1957.
Track three is the title song, Hank’s last Billboard top thirty country hit, reaching #8. In concept, the song, written by Karl Davis is somewhat similar to an Eddie Dean composition, “I Dreamed of Hillbilly Heaven”, which Tex Ritter took to #5 in 1961, although “Hillbilly Heaven” is a dream sequence song about a mythical place, whereas Karl Davis was inspired by his visit to the actual Country Hall of Fame museum. This song features a full string arrangement by Bill Walker. Although the only song on this album to feature the full string arrangement, such arrangements would become increasingly common in the next few years:
I was roaming round in Nashville in the state of Tennessee
For I love that country music, it’s as soulful as can be
I have gathered there the records for I cherished every name
So I found myself a standing in the Country Hall of FameMy heart beat somewhat faster as I walked in through the door
For I heard the sound of voices I had often heard before
A happy kind of sadness brought a teardrop to my eye
Now I’ll tell you what I saw there and I’m sure that you’ll see whyJimmie Rodgers’ railroad lantern and his faithful old guitar
I could hear that old blue yodel coming from somewhere afar
Roy Acuff in bronze likeness with the great Fred Rose his friend
And I heard that Wabash Cannonball somewhere around the bendThe guitar of Eddy Arnold memories of Cattle Call
Chet Atkins will be with him when the work’s all done this fall
From the autoharp of Maybelle, Wildwood Flower seems to ring
Riley Puckett and Gid Tanner how they all could pick and singI could hear George Hay announcin’ as I stood there in the room
I could hear Tex Ritter singing his classic song High Noon
Minnie Pearl so glad to be there and Hank Snow keeps Movin’ On
May the Lord bless those still living and the ones who’s joined his throneCowboy Copas, Hankshaw Hawkins, Gentleman Jim and Patsy Cline
Rod Bradsfield, Ira Louvin, these stars will always shine
Ernest Tubb, the great Red Foley and Hank Williams bless his name
Though some are gone they’ll live forever in the Country Hall of Fame
“I’ll Hold You In My Heart (Until I Can Hold You In My Arms)” was a massive hit for Arnold, spending 21 weeks at #1 in 1947/1948. Hank acquits himself well on this song as he does on the next track, Ernest Tubb’s 1941 hit “Walking The Floor Over You”.
Side One closes out with Hank’s cover of the “Lovesick Blues”, written by Tin Pan Alley songsmiths Cliff Friend and Irving Mills back in 1922. Emmet Miller (1928) and Rex Griffin (1939) recorded the song, but Hank Williams had the biggest hit with the song in 1949. Countless others, including Patsy Cline, have recorded the song. To really do the song justice, a singer needs to be a good yodeler, and here Locklin yodels the chorus with ease.
Side Two opens up with a mid-tempo take on Roy Acuff’s “Night Train To Memphis” with a modern arrangement (no dobro, banjo or fiddles), but with a bit of the old tent revival show feeling to it.
This is followed by “Sign Sealed and Delivered”, a hit for Lloyd “Cowboy” Copas in 1948). I think the assumption was that Copas would be elected to the Country Hall of Fame eventually, although that has yet to happen. Of the three stars who died in the 1963 plane crash (Copas, Patsy Cline, Hawkshaw Hawkins) Copas was the most famous at the time of his death.
“No One Will Ever Know” was written by Fred Rose, inducted as an executive and songwriter. The biggest hit on the song was by Gene Watson, #11 RW in 1980, although many others have recorded the song, including Hank Williams and Jimmie Dickens. Hank Locklin takes the song at a slow tempo with guitar and piano dominating the arrangement. The vocal choruses are present but not misused. It is a great song and I don’t know why no one has ever had a monster hit with the song
No one will ever know my heart is breaking
Although a million teardrops start to flow
I’ll cry myself to sleep and wake up smiling
I’ll miss you but no one will ever knowI’ll tell them we grew tired of each other
And realized our dreams could never be
I’ll even make believe I never loved you
Then no one will ever know the truth but me
The Jimmie Rodgers classic brag “Blue Yodel #1 a/k/a ‘T’ for Texas” gives Hank a chance to again show off his skill as a yodeler. On this album, Hank one uses the “blue yodel” technique but he was quite capable of doing the “rolling” (or Swiss) technique such as used by Elton Britt, Kenny Roberts and Margo Smith
The album closes with the classic Louvin Brothers hit “When I Stop Dreaming” which finds Locklin at the top of his vocal range, and a nice cover of the Red Foley gospel favorite “Peace In The Valley”.
As was customary for albums of this vintage no musician credits are given, although PragueFrank’s website suggests that the following were present :
Pete Wade, Wayne Moss, Jerry Reed Hubbard and Ray Edenton – guitars
Roy M. “Junior” Huskey, Jr. – bass / Jerry Kerrigan – drums
Hargus “Pig” Robbins and Floyd Cramer – piano / The Jordanaires – background vocals
I know that Hank Locklin’s voice is not to everyone’s taste but I think most listeners would enjoy this album because of the variety and quality of the songs. Interestingly enough, there is no overlap in songs between this album and Wanda Jackson’s earlier tribute album. I would give this album a B+
Male-female duets still exist today, although usually in the form of acts that always (or nearly always) perform as duets. Acts that normally perform as solo acts may combine for a song or two (“Special Events”), but rarely do they issue albums of duets
The album Classics, released in 1979, was the second (and final) album of duets released by the unlikely pairing of Kenny Rogers and Dottie West. Kenny, of course was a country & pop superstar but Dottie West was a veteran second-tier country artist, whose 1978 album with Kenny (Every Time Two Fools Collide) would trigger a brief renaissance on the United Artists/Liberty label.
I am not sure why this particular pairing came about, although I have some suspicions. United Artists was not a major player in country music and did not have a deep roster of female artists. Billie Jo Spears, arguably the leading female country singer on the label, did not have a voice that would blend well with Kenny’s voice.
The recently signed Dottie West, on the other hand, had a track record of being able to blend and harmonize with male singers. Her track record at RCA had included successful recordings with such diverse singers as Jim Reeves, Don Gibson and Jimmy Dean. Dottie’s first album and the second album, released on the heels of the first duet album, did not produce any top fifteen hits but the first duet album did produce a #1 and a #2 single.
That brings us to this album, a collection of some county songs, some borderline pop-country-easy listening songs and some pop songs. Produced by Larry Butler, the album was not quite as successful as its predecessor duet album, but still sold over two million copies.
The album opens up with “All I Ever Need Is You”, a top ten pop hit and #1 Adult Contemporary hit for Sonny & Cher and a top twenty county hit for Ray Sanders, both versions in 1971. This version would rise to #1 on the country chart. While not as country as the Sanders version (still my favorite), it is not as pop as the Sonny & Cher versions. Both steel guitar (by Pete Drake) and string arrangements are featured in the arrangement. The song works well as a duet.
Sometimes when I’m down and all alone
Just like a child without a home
The love you give me keeps me hangin’ on
Oh honey, all I ever need is youYou’re my first love, you’re my last
You’re my future, you’re my past
And loving you is all I ask, honey
All I ever need is you
The Wynette, Richey, Sherrill composition “ ‘Til I Can Make It On My Own” is up next. The song was a #1 country hit for Tammy Wynette in 1976. The song works as a duet but is in a key where Kenny seems to be struggling to hit some of the notes.
“Just The Way You Are” was a #3 Billboard / #2 Cashbox top ten pop hit for writer Billy Joel in 1977. The arrangement of this song reeks of cocktail lounge balladry. I’d rather hear Billy Joel perform this song and I am no fan of his music.
Randy Goodrum penned “You Needed Me”. Goodrum would co-produce Dottie’s 1979 album Special Delivery and write six of the songs on that album. I think that this song, as recorded by Anne Murray (#1 pop / #4 country), , was his biggest hit as a songwriter. The arrangement on this one is definitely easy listening.
“(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song” was made famous by B.J. Thomas, winning the 1976 Grammy Award for Best Country Song. The song’s writers, Larry Butler and Chips Moman definitely cleared the bases with this song as it went to #1 on the country, pop and A/C charts in the US, nearly duplicating that success in Canada. Kenny & Dottie do a nice job with the song although the arrangement can be best described as ‘countrypolitan’. Steve Glassmeyer is featured on soprano sax.
It’s lonely out tonight
And the feelin’ just got right for a brand new love song
Somebody done somebody wrong songHey, wontcha play another somebody done somebody wrong song
And make me feel at home while I miss my baby, while I miss my baby
So please play for me a sad melody
So sad that it makes everybody cry-why-why-why
A real hurtin’ song about a love that’s gone wrong
Cause I don’t want to cry all alone
There is no questioning the country credentials of the next song, “Together Again” written by the great Buck Owens. Although initially released as the B side of Buck’s 1964 single “My Heart Skips A Beat”, most disc jockeys played both sides of the record resulting in both songs reaching #1, although in different weeks.
Unfortunately, the song is given an easy listening arrangement with strings and keyboards and not a trace of a steel guitar in the arrangement. There is a key shift whenever Kenny takes over from Dottie in singing a verse. I liked Dottie’s vocal on the song, Kenny’s not so much. The net effect is really disappointing.
Paul Craft was a successful songwriter who penned “Midnight Flyer”. The song is probably best remembered for Eagles recording of the song, although the song entered the realm of bluegrass music
through the Osborne Brothers terrific single recording of the song in 1973. Producer Butler gives the song the (fairly) acoustic arrangement the song demands. Kenny & Dottie acquit themselves well on this song.
Oo, Midnight Flyer
Engineer, won’t you let your whistle moan?
Oo, Midnight Flyer
I paid my dues and I feel like trav’lin’ on
A runaway team of horses ain’t enough to make me stay
So throw your rope on another man
And pull him down your way
Make him into someone who can take the place of me
Make him every kind of fool you wanted me to be
Barry Mann and Cynthia Weil were a highly successful songwriting team and Phil Spector was a successful producer and occasional songwriter best known for his ‘wall of sound’ production style. “You’ve Lost That Lovin’ Feelin'” was certainly the biggest hit that the Righteous Brothers would ever have, and possibly the most successful song from the Mann-Weil songwriting team. After hearing the Righteous Brother’s version it is difficult to accept any of the cover versions, of which there have been many. Kenny & Dottie do a decent job with the song, which is given a somewhat subdued ‘wall of sound’ production, but it pales in comparison to the original.
“Let It Be Me” is a popular song originally published in French in 1955 as “Je t’appartiens”. Written by Gilbert Becaud & Pierre Delanoe, the song became a worldwide hit when Manny Curtis appended English lyrics to the song. The Everly Brothers (#7 pop – 1960) and a duet by Betty Everett and Jerry Butler (#5 pop – 1964) cemented the song’s popularity in the English speaking world. In 1969 Glen Campbell and Bobbie Gentry had a pop and country hit with the song. Kenny and Dottie sing the song quite well – I think Kenny’s best vocals on this album are to be found on this song. The song is not country, the arrangement is very orchestral, but the net effect is very nice.
Like most of Kenny’s albums, this is essentially a pop album with a nod toward country music. There would be no more duet albums by this pair and after a brief resurgence in 1979 through early 1981, Dottie’s solo career would fade away (not surprisingly as Dottie would turn 50 in 1982). The younger Rogers (b. 1938) would continue to have varying degrees through the end of the 1980s, followed by a long coda.
I like parts of this album, but there are tracks I tend to skip over – I give it a C+
1957 (Sales): Bye Bye Love — The Everly Brothers (Cadence)
1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)
1967: With One Exception — David Houston (Epic)
1977: It Was Almost Like a Song — Ronnie Milsap (RCA)
1987: I Know Where I’m Going — The Judds (RCA/Curb)
1997: Carrying Your Love With Me — George Strait (MCA)
2007: Lost in This Moment — Big & Rich (Warner Bros.)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Craving You — Thomas Rhett featuring Maren Morris (Valory)
Produced by Jack Clement and released in 1971, Did You Think To Pray was Charley Pride’s first gospel album. The album, which emerged at the height of Pride’s popularity, hit #1 and was certified Gold.
Despite his goodwill with country radio, his previous six singles had been chart toppers, Pride could only get the album’s sole single to #21. “Let Me Live” has a strong lyric about the guidance of God’s love, but a melody that leaves much to be desired. The song takes a bizarre and jarring turn halfway, turning from a simple ballad into a gospel rave and back again.
The title track, which opens the album, preaches about the power of prayer. The track is somewhat overwrought and brought down by the heaviness of the background vocalists and what appears to be a low humming throughout.
The album kicks into high gear with Pride’s spirited take on “I’ll Fly Away.” The fiddle is a perfect accompaniment for the backing vocalists who join Pride throughout. Also fantastic is his banjo-drenched take on “Angel Band,” one of the album’s strongest tracks. “Whispering Hope” is also fantastic, with Pride channeling Jim Reeves.
Pride gets back to preaching on “Take Time out for Jesus,” which is heavy-handed but otherwise excellent. The melody is inviting and draws you right in. The confessional “Jesus, Don’t Give Up On Me,” finds Pride hoping for redemption after failing to heed his own advice.
“The Highway Leads to Glory” is about the journey, and it’s glorious. His take on the oft-covered “The Church In The Wildwood” is of similarly high quality. The album closes with “Lord, Build Me a Cabin in Gloryland,” which retains the album’s winning ways.
Apart from a couple of moments that get the album off track, Did You Think To Pray is an excellent recording, gospel, secular or otherwise. It’s well worth checking out if you want to hear it again after many years or are just discovering it for the first time.
Grade: A
Released in June 1970, Charley Pride’s 10th Album was actually his ninth album of new material as his actual ninth album was the hits collection The Best of Charley Pride.
Only one single was released from the album, Dave Kirby’s “Is Anybody Goin’ To San Antone”, but there were three or four other songs that were worthy of single release. The album reached #1 on Billboard’s Country Albums charts (also #1 in Canada), and went to #30 on the all-genre’s charts, becoming Charley’s fourth consecutive and sixth total gold albums. I strongly suspect that had Sound Scan been around, this album would have tracked higher.
The album opens up with “Able Bodied Man”, the Bill Rice – Jerry Foster composition about an itinerant laborer who moves from job to job, all the while working hard to keep his marriage working. It’s a truly great song and one I would have liked to see released as a single
If I had more education now I’d have made a better life for me and you
But just simple manual labor is the only kind of work that I can do
The bus is loadin’ for Missouri so I guess I’d better go
I’ll call you just as soon as I can
I’ll be sending you a ticket cause I think I’ll get a job
If they’re looking for an able bodied man
And remember I’m your able bodied man
Next up is Bill Rice’s “Through The Years”, a nice slow country ballad about a relationship that has grown stronger through the years. The song had no potential as a single, but makes a nice complement to the album.
“Is Anybody Goin’ To San Antone” would be Charley’s best remembered song had “Kiss An Angel Good Morning” never come along. The song reached #1 for two weeks and was his biggest pop hit up that time. The song became an immediate favorite of country cover bands everywhere. Doug Sahm recorded the song twice (once with the Texas Tornados) and Larry Cunningham & The Mighty Avons had success with the song in the UK and Ireland. There was even a rough Swedish translation of the lyrics that became a hit in Sweden.
Rain drippin’ off the brim of my hat,
It sure looks cold today.
Here I am a-walkin’ down 66,
Wish she hadn’t done me this way.Sleepin’ under a table in a roadside park,
A man could wake up dead;
But it sure seemed warmer than it did
Sleepin’ in my king-size bed.[Chorus]
Is anybody goin’ to San Antone or Phoenix, Arizona?
Any place is all right as long as I can forget I’ve ever known her.
The nest three songs are basic slow country ballads: Jerry Foster’s “The Thought of Losing You”, Jack Clement’s “I Think I’ll Take A Walk”, and the Hugh X Lewis composition “Things Are Looking Up”. All three are nice songs with vivid imagery, but none would be considered as singles material.
Charley picks up the tempo a little with Bill Foster’s “Special”, a train song of wanderlust. There was a time when a song such as thius one would have been a viable single, but by 1970, that time was probably was past.
The only thing I really own is what you see me wearing on my back
The only friends I’ve ever known are the kind you meet along a railroad track
The kind you bum tobacco from and view the world through a boxcar door
A friend who talks and makes you laugh has nothing much but gives you halfAnd maybe you don’t see him anymore
Special I hear your lonesome whistle whine
It’s calling me
Special keep moving me on down the line
Alex Zanetis, who wrote several of Jim Reeves’ big hits, wrote a “Poor Boy Like Me”. Thematically it was too similar to several of his earlier singles for Charley to have released the song as a single. Ditto for the Allen Reynolds-Dickie composition “(There’s) Nobody Home To Go Home To”. I would have thought that someone would have taken a chance on one of these songs, both excellent album tracks.
I have no idea why RCA chose not to release “This Is My Year For Mexico” as a single. The song screams hit single. Crystal Gayle recorded the song in 1975 and reached #13 on Record World, 16 on Cashbox and 21 on Billboard, but her career had not reached high gear yet (it was her second biggest hit at that point in her career). Released later in Crystal’s career it would have been a huge record, as it would have been for Charley had it been released as a single. As it was, the song received considerable airplay, although Billboard did not track album tracks at the time. Bluegrass superstar Dale Ann Bradley has the song on an upcoming album and several other bluegrass acts have recorded the song.
I no longer notice if you’re wearing perfume
I quit smoking, girl, you never even knew
And the road is full of young and restless people
And their full of the energy to move[Chorus]
Its a habit for us to stay together
We sit and watch the nightly shadows grow
Every day last year I left for California
This is my year for Mexico
At the time I purchased the album (July 1970) I noted the album had only ten tracks and had a playing time of around 27 minutes, a bit of a short-change. On the other hand I would rather have 27 minutes of music that ranges from very good to excellent than 35 minutes of drivel. There is not a song on this album I dislike – a solid A.
1957 (Sales): Bye Bye Love — The Everly Brothers (Cadence)
1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)
1967: All The Time — Jack Greene (Decca)
1977: I’ll Be Leaving Alone — Charley Pride (RCA)
1987: All My Ex’s Live In Texas — George Strait (MCA)
1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)
2007: Lucky Man — Montgomery Gentry (Columbia)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Every Time I Hear That Song — Blake Shelton (Warner Bros.)
1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)
1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)
1967: All The Time — Jack Greene (Decca)
1977: That Was Yesterday — Donna Fargo (Warner Bros.)
1987: That Was a Close One — Earl Thomas Conley (RCA)
1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)
2007: Lucky Man — Montgomery Gentry (Columbia)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): God, Your Mama, and Me — Florida Georgia Line ft. The Backstreet Boys (Republic Nashville)
1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)
1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)
1967: All The Time — Jack Greene (Decca)
1977: Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)
1987: Forever and Ever, Amen — Randy Travis (Warner Bros.)
1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)
2007: Ticks — Brad Paisley (Arista)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): How Not To — Dan + Shay (Warner Bros.)
Nowadays when a tribute album is released, often it is more of a multi-artist gala event than an honest tribute with many of those paying tribute being mere poseurs. This was not always the case. Prior to the Urban Cowboy movement, it was common to see single artist albums that paid tribute to another artist. Kitty Wells, Faron Young and Del Reeves paid tribute to Jim Reeves. Similarly, Stonewall Jackson, Ernest Tubb and Charley Pride issued Hank Williams tribute albums and Loretta Lynn cut a tribute album to Patsy Cline. Even the great Merle Haggard issued tribute albums to Bob Wills and Jimmie Rodgers, as did Willie Nelson with his a salute to Lefty Frizzell. Most of these single artist tribute albums were sincere tributes, but they were seldom innovative or particularly soulful endeavors, just albums of adequate cover versions.
Mr. Hag Told My Story is different. For one thing Paycheck, a somewhat kindred spirit to Haggard, inhabits these songs, making them very personal indeed. Moreover, instead of merely recording a collection of Haggard’s hits, Paycheck goes deep catalog, recording some relatively obscure songs that were mostly album tracks for Haggard.
While Haggard and Paycheck had some similarities such as tough childhoods which resulted in both being hellions during their younger years, Haggard outgrew his demons and never was regarded as being part of the outlaw movement. This may be at least partially due to Haggard’s producer at Capitol, Ken Nelson, giving Haggard free reign to release some very personal albums with less commercial viability. Consequently, Haggard did not have much cause for rebellion.
I am not convinced that Johnny Paycheck ever truly conquered his demons, except when he grew too old to continue his self-destructive ways.
Haggard was a huge star with over 20 years of sustained chart success while Paycheck had three scattered periods of success scattered over a 15 year period. Both were successful songwriters and both got started in the bands of the biggest stars of the time.
For a brief period of time Haggard and Paycheck recorded for the same label, Epic, toured together and were able to record together.
Released in 1981, Mr. Hag Told My Story is an album of moody and/or introspective songs all of which were written by Haggard except for “Carolyn” a Haggard hit written by Tommy Collins. There were no hit singles released from the album, but there are a lot of classic performances, with Haggard’s band The Strangers providing much of the instrumental backing.
The structure of the album is that Paycheck introduces each of the songs with a spoken introduction. Haggard himself weaves in and out of the album, sometimes as a lead or harmony singer, sometimes as part of a conversation and sometimes playing his guitar. Make no mistake – this is a Johnny Paycheck album but Haggard’s presence is significant.
The album opens up with “(I’m) Turning Off A Memory”, the B-side of Haggard’s 1971 hit “Grandma Harp”. This is a great song that I think should have been an A-side for Haggard. Haggard adds some asides and sings on the choruses and takes on one of the verses.
You can find me in a dim lighted bar room
If your coldness should ever turn warm
But the chances of you ever changing
Are as slim as your two loving armsSo I’m turning off a memory
As quickly as time will allow
Yes, I’m turning off a memory
And the wine seems to help me somehow
“I’ve Got A Yearning” was an album track on Haggard’s 1978 Capitol album Eleven Winners. Taken slightly up-tempo, the song is another tale of loneliness:
I’ve got a yearning to hold you tight
A burning desire I live with day and night
Everything I lose keeps on hanging on
This feeling isn’t leaving and by now it should be gone.I keep on thinking those thoughts that keep making me want you all the time
I should be trying to find me a way I can drive you from my mind
I know that you wanted to give and I know that you gave all you could
Wish I could accept what is over and done with for good.
Tommy Collins wrote “Carolyn”, a classic song of frustration and angst, that Haggard took to the top of the charts in 1972. Here Paycheck sings the verses and Haggard does the narrations. Don Markham’s horns give the song a more jazzy feeling than on Haggard’s earlier single.
Yes, Carolyn, a man will do that sometimes on his own
And sometimes when he’s lonely
I believe a man will do that sometimes out of spite
But Carolyn, a man will do that always
When he’s treated bad at home
“I’ll Leave the Bottle on the Bar” comes from Haggard’s 1968 album Sing Me Back Home. This song is another featuring a quicker tempo. The steel guitar sounds like that of Big Jim Murphy, Paycheck’s regular steel guitarist:
A loser doesn’t always know he’s losing
Till he’s lost the game and it’s too late to win
I hope I’ll call in time and you’ll forgive me
‘Cause I want so much to come back home again
And I’ll leave the bottle on the bar
If you’ll take me back to start anew
I’ll leave the bottle on the bar
I’ll sober up and come back home to you
I’m not sure that “All Night Lady” was ever issued on a Merle Haggard album. This song is about Death Row, not the first time Haggard wrote about the subject. Paycheck does a masterful job of singing the song.
Through the window he sits watching his last sunset
Like a blackout curtain closing out the light
It’s now he needs someone’s arms around him
Yes it’s now he needs someone to help him through the nightAn all night lady
One who loves me
And won’t leave me when daylight comes
One who’ll stay with me until my life is doneAt 9 AM they’re going to lead him to the death-house
And at 10 AM they’ll lay his soul to rest
I can see them giving him his last supper
I can hear him giving them his last request
“I Can’t Hold Myself in Line” was the only single issued from the album, dying at #41. The song originally appeared on Haggard’s Pride in What I Am album released in 1969. This song is basically a very bluesy conversation between Haggard and Paycheck, with twin steel by Jim Murphy and Norm Hamlet, plus some very funky lead guitar by Roy Nichols and terrific horns played by Don Markham.
I’m going off of the deep end
And I’m slowly losing my mind
And I disagree with the way (ha-ha) I’m living
But I can’t hold myself in lineYou give me no reason for my drinkin’
But I can’t stand myself at times
And you’re better off to just leave and forget me
Cause I can’t hold myself in line
“Yesterday’s News Just Hit Home Today” is another bluesy track with the sage advice that ‘being a fool is one thing, but not knowing you’re a fool is another thing’.
“You Don’t Have Very Far to Go” was a Haggard co-write with Red Simpson that first surfaced on Haggard’s 1967 album Branded Man. I thought at the time that it would have made a good single for Haggard but then, most of his sixties albums were full of good singles material. Johnny gives it a more honky-tonk treatment that Hag had given it.
You always find the way to hurt my pride
If I’m not crying you’re not satisfied
And I don’t know why you want to hurt me so
If you’re tryin’ to break my heart
You don’t have very far to go
You don’t have very far to goBefore the heartache begins
I already feel the sadness
Of a heartbreak settin’ in
I don’t know why you want to hurt me so
If you’re tryin’ to break my heart
You don’t have very far to go
“No More You and Me” is a fairly generic honky-tonk ballad, executed perfectly by Paycheck.
The album closes with the bluesy title track “Someone Told My Story”:
I played a brand-new record on the jukebox
And I scarcely could believe the song I heard
It told of how you left me for another
It was almost like I’d written every wordSomeone told my story in a song
The lyrics told of happiness and home
And then it told of how you’ve done me wrongSomeone told my story in a song
The writer must’ve seen the way you done me
For he told it all and never missed a line
He told of swinging doors and the jukeboxAnd he even knew I almost lost my mind
Someone told my story in a song
After listening to this album, I think you’d have to say that Haggard definitely told Paycheck’s story in his songs. This album is my favorite of the post-Little Darlin’ Johnny Paycheck. Really, how could this miss?
The great songs of Merle Haggard, as sung by Johnny Paycheck with an amplified version of Haggard’s Strangers providing most of the instrumental backing and Hag himself joining in at times.
Grade: A+
1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)
1957 (Jukebox): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)
1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)
1967: All The Time — Jack Greene (Decca)
1977: Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)
1987: Forever and Ever, Amen — Randy Travis (Warner Bros.)
1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)
2007: Moments — Emerson Drive (Midas Nashville)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): In Case You Didn’t Know — Brett Young (Republic Nashville)
1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)
1957 (Jukebox): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)
1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)
1967: It’s Such a Pretty World Today — Wynn Stewart (Capitol)
1977: Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)
1987: I Will Be There — Dan Seals (EMI America)
1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)
2007: Good Directions — Billy Currington (Mercury)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): In Case You Didn’t Know — Brett Young (Republic Nashville)
1957 (Sales): Gone — Ferlin Husky (Capitol)
1957 (Jukebox): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)
1957 (Disc Jockeys) (tie): Gone — Ferlin Husky (Capitol)
Four Walls — Jim Reeves (RCA)
1967: Sam’s Place — Buck Owens (Capitol)
1977: Luckenbach, Texas (Back to the Basics of Love) — Waylon Jennings (RCA)
1987: Can’t Stop My Heart From Loving You — The O’Kanes (Columbia)
1997: One Night at a Time — George Strait (MCA)
2007: Good Directions — Billy Currington (Mercury)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Hurricane — Luke Combs (Columbia)
1957 (Sales):Young Love/You’re The Reason I’m In Love — Sonny James (Capitol)
1957 (Jukebox): Young Love — Sonny James (Capitol)
1957 (Disc Jockeys): Young Love — Sonny James (Capitol)
1967: I Won’t Come In While He’s There — Jim Reeves (RCA)
1977: Southern Nights — Glen Campbell (Capitol)
1987: I’ll Still Be Loving You — Restless Heart (RCA)
1997: We Danced Anyway — Deana Carter (Capitol)
2007: Beer In Mexico — Kenny Chesney (BNA)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Dirt On My Boots — Jon Pardi (Capitol)
My Kind of Country 