My Kind of Country

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

Tag Archives: Jimmy Darrell

Album Review: Alabama – ‘Mountain Music’

mountain musicThe band’s third album for RCA, 1982’s Mountain Music, was produced by the band with Nashville veteran Harold Shedd. It continued the recipe as before, with similarly successful results.

All three singles were chart toppers, starting with the title track. Opening with the strains of a solo harmonica (played by Michael Douchette), and then a short verbal imitation of an elderly countryman by the band’s roadie Bob Martin, Randy Owen’s song, inspired by his memories of growing up in the shadow of Lookout Mountain, Alabama, paints an idyllic picture of a rural Southern childhood. It is an unexpectedly charming mixture of country-rock and bluegrass influences, with bright effervescent fiddle alongside the electric guitar. There are great harmonies, with Teddy Gentry and Jeff Cook getting a few solo lines to boot.

The second single was competently performed but not at all country sounding (and not to my taste). ‘Take Me Down’ was a cover of a failed pop single by the band Exile (who soon afterwards decamped to country music) also got some pop airplay for Alabama, reaching the top 20 on that chart.

Finally, ‘Close Enough To Perfect’ is a very nice romantic ballad, with a sweet string arrangement.

There are a couple of excellent songs among the remaining tracks. The dramatic ‘Words At Twenty Paces’, which applies Western movie metaphors to a troubled romance, was written by troubadour High Moffatt:

Just like a Western movie
A challenge has been made
A shot was fired in anger
And pride stepped off the train
Won’t we ever stop this
Killin’ me and you,
Till our hearts are up on Boot Hill
And there’s nothing we can do.

Words at twenty paces,
Anger at high noon
This house ain’t big enough for both of us
it’s comin’ soon
We’ll finish off our happiness
And run hope out of town
With words at twenty paces, Lord,
It’s love we’re gunnin’ down.

How did we ever lose
The dreams we used to share?
The gentle touch, the words of love,
The way we used to care
Sometimes your words
Cut like a bullet in my side
Oh, which is more important
Wounded hearts or wounded pride?

I got my ammunition
I know you got yours too
We know each other’s weakness
Lord, the damage we can do
Why can’t we just step aside
And put our guns away
Let love come like a cavalry
Ride in and save the day

Had it been recorded a few years later, it would have been prime fodder for a video treatment. The arrangement is contemporary country, and works well.

‘Changes Comin’ On’ was written by Dean Dillon, Buddy Cannon and Jimmy Darrell, and chronicles the changes in music and American society since the 1960s. It is an excellent song, and Alabama’s version is great – for the first three and a half minutes. Unfortunately, the track then goes “on and on and on” (as they sing themselves) for the same length of time again, without actually going anywhere. Pointless and self indulgent.

Jeff Cook’s vocals are mediocre compared with those of his cousin Randy Owen, but he got his chance to sing lead on two songs here, both heavier of the rock than country. His own ‘Lovin’ You Is Killin’ Me’ is no better than average, while a cover of Creedence Clearwater Revival’s Green River’ is dull. Neither song is helped by the monotonous vocal.

Teddy Gentry takes the lead on his own ‘Never Be One’, a sentimental ode to a toddler daughter, which is sweet to the border of saccharine. The child makes a small cameo appearance. In a complete change of tone, the faux sexy ‘You Turn Me On’ (written by Gentry and Owen) features an overdone Conway Twitty impersonation (although Randy sings the verses pleasantly enough).

The record closes with the enjoyably rowdy ‘Gonna Have A Party, written by Kieran Kane (future member of The O’Kanes’), 60s rocker Bruce Channel, and Cliff Cochran.

Mountain Music was the group’s first album to hit the platinum mark, and has now sold five times that. It’s a bit of a mixed bag in terms of material, but has some pretty good tracks.

Grade: B+

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Album Review: Dean Dillon – ‘I’ve Learned To Live’

i've learned to liveMost fans will know Dean Dillon as a fine songwriter, who cranks out hits for other artists. Unfortunately, this album will do nothing to dispel that notion. By the time this album came along in 1989, Dillon had already largely figured out his fate in life (although he still harbored some delusions of grandeur as a singer) and mostly had quit trying to save his best material for himself. I’ve Learned To Live consists largely of material he had not been able to pitch elsewhere. That is not to say that there aren’t some good songs here, just that the material with real hit potential had already been channeled to George Strait, Vern Gosdin and other top-shelf artists. That said, I really enjoyed this album, which I regard as his best solo effort.

The album opens up with “Just In Time” an up-tempo song co-written with Frank Dycus. There is some nice mandolin playing on the track by Randy Scruggs.

“Changes Comin’ On” is a slow ballad that probably is the best song on the album. Co-written with Jimmy Darrell and Buddy Cannon. Alabama and Gene Watson recorded this song on albums.

Well, I’m still hooked on Haggard
But the Beatles can’t come back like we hoped they would
In Memphis, Tennessee, King is gone
As I put my kids to bed, oh, I wonder what lies ahead for them to see
‘Cause I can feel the change comin’ on

I can feel changes comin’ on
People still are singin’ different songs
They’re searchin’ for the place where they belong
I can feel changes comin’ on

“Who Do You Think You Are”, co-written with Frank Dycus, is a nice ballad that would have made a good single for someone.

“Don’t You Even Think About Leaving” features the great Tanya Tucker duetting with Dean. The song is quick, sassy and well suited for a duet. Johnny Gimble plays fiddle as only he can.

“I’ve Learned To Live”, co-written with Frank Dycus, is a nice ballad that Shelby Lynne also recorded. Dean does a nice job with the song

Like a child lost in the wilderness I knew not where to go
Surrounded by the emptiness of a love that left me cold
I stumbled through the darkness of nights that have no stars
And days that have no sunshine to warm my naked heart

Like a bird in flight brought down by stones from an unknown assailant’s sling
A stranger took you from my arms and I lost everything
In days to come I nearly ran out of ways to stay alive
But through it all I never lost the will to survive

But I’m not over you and I doubt that I’ll ever be
So I’ve learned to live and you won’t be the death of me oh no
Yes I’ve learned to live and I’m doing well but I’m not over you

“It’s Love That Makes You Sexy” was one of two singles issued from the album. It’s not a bad song (actually the Dean Dillon / Frank Dycus pairing didn’t write any bad songs) but Dean just wasn’t a marketable singer. Despite Sonny Garrish’s nice steel guitar work, this one died at #61 in 1989.

The next single “Back In The Swing of Things” fared even worse, dying at #89 (it reached #70 on the Canadian Country charts). Dean’s version of the song really does swing – with Johnny Gimble on fiddle and Sonny Garrish on steel, how can it not swing? Co-writer Vern Gosdin also recorded the song on an album. The song really should have been a hit – I would rate it as the second best song on the album.

Hank Cochran collaborated with Dean on “Summer Was A Bummer”. It’s a nice song but nothing special.

“Her Thinkin’ I’m Doin’ Her Wrong” sounds like a country song from the 1965-1975 period with the steel guitar serving as the lead instrument with Johnny Gimble lending a few flourishes with his fiddle. Glenn Martin co-wrote this song and also wrote a bunch of hits for people like Charley Pride and Merle Haggard, either of whom would have had a hit on this song during their heydays.

Her thinkin’ I’m a doin’ her wrong
Ain’t a doin’ me right

The album closes with “Holdin’ Pattern, a nice ballad that Dean sings well.

Dean’s prior album Slick Nickel reeked of 1980s production values. In contrast, this album has more authentically country production with but slight traces of the sound that characterized the early 1980s. He has an ace fiddle player in Johnny Gimble, a superb steel player in Sonny Garrish, a multi-instrumental wizard in Randy Scruggs, and a solid second fiddler in Paul Anastasio. Unfortunately, if this album couldn’t produce any hits for Dean, it would seem unlikely that he could ever break through as an artist. I’d give this album a B+.