My Kind of Country

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

Tag Archives: Jimmy Work

Album Review: Willie Nelson – ‘To All The Girls’

to all the girlsThe newest Willie Nelson album finds Willie treading familiar ground, recording eighteen duets with various female partners. These partners range from young to old, famous to fairly unknown and across a wide array of genres.

The album opens up with the “From Here To The Moon And Back”, an introspective ballad from the catalogue of duet partner Dolly Parton. This song has a very quiet arrangement with piano being the dominant sound, along with a very light string arrangement – very nice song.

Another very quiet song is “She Was No Good For Me” with the normally boisterous Miranda Lambert assisting Willie on an old Waylon Jennings tune. It is nice to hear Miranda sing a song that requires nuance and restraint.

She was a good looking woman no doubt
A high steppin’ mover that men talk about
Everything bad in me she brought it out
And she was just no good for me

[Chorus:]
Don’t be taken by the look in her eyes
If she looks like an angel
It’s a perfect disguise
And for somebody else she may be
But she was just no good for me

“It Won’t Be Very Long” opens with a harmonica intro which comes to a dead stop and then starts to a song with a very country gospel feel – something either Roy Acuff or the Nitty Gritty Dirt band might have tackled. The Secret Sisters aren’t really very well known but probably do the best job of any act on the album of actually harmonizing with Willie. Willie and producer Buddy Cannon wrote this song.

“Please Don’t Tell Me How The Story Ends” is a Kris Kristofferson song that originally was a top ten hit for new Country Music Hall of Famer Bobby Bare (it reached #1 on Record World) in 1971. In 1974 it reached #1 on Billboard for Ronnie Milsap. I always preferred Bare’s version as I think the song benefited from Bare’s more laid back approach to the song. Nelson and duet partner Rosanne Cash adopt the more relaxed approach to the song, with Willie’s guitar being the dominant sound of the background, but with a tasteful organ undertone by Moose Brown. Willie and Rosanne’s voices really don’t mesh well together and Willie’s eccentric phrasing is difficult for any singer to handle, but actual harmonizing on this tune is kept to a dead minimum.

“Far Away Places” is one of the classics of the American Pop Standards canon. The song was written by Joan Whitney and Alex Kramer way back in 1948, and was an immediate hit by three artists in late 1948-early 1949, reaching #2 for the legendary Bing Crosby, #3 for Margaret Whiting and #6 for Perry Como. The Como version is probably the best remembered version since RCA kept the song available for most of the last 65 years whereas the other versions have frequently been out of print. Willie and partner Sheryl Crow harmonize well and recreate the dreamy feel of the 1948 versions. This is my favorite track on this album:

Far away places with strange soundin’ names
Far away over the sea
Those far away places with the strange soundin’ names
Are callin’, callin’ me

Goin’ to China or maybe Siam
I want to see for myself
Those far away places I’ve been readin’ about
In a book that I took from the shelf

I don’t know how many times Willie has recorded his own “Bloody Mary Morning” but this version must be the fastest version on disc. I’m not a big Wynonna Judd fan but this is the kind of song she handles well. Mike Johnson (steel) and Dan “Man of Constant Sorrow” Tyminski (acoustic guitar) really shine on this track.

Writers Wayne Carson, Mark James and John Christopher, Jr cashed in big time with “You Were Always On My Mind” as it was a hit thrice (Brenda Lee, Elvis Presley, Willie Nelson) and appeared on many albums generating many millions of sales (and royalties for the songwriters). On this recording Willie is joined by Carrie Underwood in a nice version with fairly minimal backing.

During the 1960s and 1970s semi-permanent male-female duos abounded, nearly all of whom tackled Merle Haggard’s “Somewhere Between”. It’s a great song and Willie is joined by the legendary Loretta Lynn, singing in better voice than anything I’ve heard from her recently. Willie and Loretta trade verses (usually in different keys) and do not harmonize except one line at the end. It’s a great song and full justice is done to the song.

“No Mas Amore” written by Keith Gattis and Sammy Barrett, is given the Mexican treatment by Willie and partner Alison Krauss complete with trumpets. Willies band member Mickey Raphael plays chord harmonica and bass harmonica; Alison’s band member Dan Tyminski adds background vocals and plays mandolin. Usually Alison Krauss duets produce a certain magic, but this one is merely pleasant listening.

“Back To Earth” features Melonie Cannon on this Willie Nelson ballad, taken at a languid pace. The song is nothing special but Melanie and Willie execute it well.

Mavis Staples is one of the best known gospel singers, carrying on the fine tradition of the legendary Staples Family. “Grandma’s Hands” was penned by Bill Withers, probably best known for his monster hits “Ain’t No Sunshine” and “Lean On Me”. The song was about Wither’s own grandma and is an affectionate look at a loved one, now departed. Willie and Mavis give it a bit of a ‘swamp blues pop’ treatment that fits the song exactly.

“Walkin” features Wiliie’s good friend Norah Jones on a Willie composition. This is a bluesy slow ballad about leaving.

“Till The End of World” is an old Vaughn Horton standard given an up-tempo western swing arrangement. Back in 1949 Ernest Tubb, Jimmy Wakely and Johnny Bond all had top twelve hits with the song, then in 1952 Bing Crosby and ace guitarist Grady Martin took it back into the top ten. Shelby Lynne reestablishes her country credibility with this effort.

“Will You Remember Mine” is a lovely ballad from Willie’s pen. I don’t know anything about Lily Meola but she is a perfect complement to Willie on this song.

Gone are the times when I held you close
And pressed your lips to mine
Now when you kissed another’s lips
Will you remember mine?

I’m sure we’ve all had this thought – indeed.

“Dry Lightning” comes from the pen of Bruce Springsteen. Emmylou Harris can sing with anyone. Therefore it is no surprise that this song works as a duet. It’s another slow ballad, but Emmylou, as usual is exquisite.

I first ran across Brandi Carlile some years ago when the late and lamented Borders chain distributed sampler CDs of her work. On “Making Believe” she proves both that she can sing effective harmony and can sing country music with feeling. This song was written by Jimmy Work but is best remembered as a major hit for Kitty Wells in 1955, with Emmylou Harris taking it back to the top ten in 1977.

“Have You Ever Seen The Rain” is a John Fogarty composition given a slow folk arrangement that enables Willie and (I think) daughter Paula Nelson to convey the lyrics in an uncluttered manner. I really like this recording.

Tina Rose is the daughter of Leon & Mary Russell. Willie recorded an album with Leon Russell in 1979, so it seems only proper that he should record a song with Leon’s daughter. I’m not that impressed with Ms Russell’s vocals, but they work well enough on the vehicle chosen, L.E White’s “After The Fire Is Gone”, which White’s boss, Conway Twitty took to the top of the charts with Loretta Lynn in 1971. Willie and Tina don’t have the chemistry Conway and Loretta had (few do) but the end result is worthwhile.

It remains true:
There’s nothing cold as ashes
After the fire’s gone

All told, there is a very pleasant offering from Willie – I’d give it a B+, mostly because a few more up-tempo numbers were needed. Willie, of course, is always Willie, and as always, he was chosen well in his selection of female guests.

Classic Rewind: Kitty Wells – ‘Making Believe’

In memory of Kitty Wells, the original Queen of Country Music (1919-2012).

This classic (written by 50s star Jimmy Work, who also had a hit with it) was another of her big 1950s hits:

Album Review: Merle Haggard – ‘A Working Man Can’t Get Nowhere Today’

It is not unusual for a record label to release material it has “in the can” after an artist has left for another label. What is unusual is for that material to be top-flight and perhaps even better than the artist’s current musical releases. A Working Man Can’t Get Nowhere Today is the first of two albums in which Haggard and Capitol wave goodbye to each other. The album made its chart debut on October 15, 1977, approximately five months after the release of his first album for MCA, Ramblin’ Fever.

Since the album didn’t have the promotional push of Capitol Records behind it, #28 was as high on the album charts as it would get and the singles released (“A Workin’ Man Can’t Get Nowhere Today”, “Making Believe” , and ”Running Kind”) all languished between #12 and #16 on the Billboard Country charts. Despite that the album remains one of my favorites.

More so than on his most recent Capitol releases, this album was founded on the blues. Since Haggard was already gone from Capitol, I assume that Ken Nelson was the guiding force behind the songs chosen for this album. If so, he did a magnificent job of protecting Hag’s legacy.

The album opens up with the title song, a song which echoes the sentiments of working people everywhere:

“A working man can’t get nowhere today
A working man ain’t got no time to play
Today I work my fanny off and leave it lay
A working man can’t get nowhere today”

The next track is one familiar to country fans of my generation and older, a song which was a major hit for Kitty Wells and Emmylou Harris, the Jimmy Work-penned “Making Believe”. An older generation would remember “Blues Stay Away From Me” as a major hit for Alton & Rabon Delmore.

Life is full of misery
Dreams are like a memory
Bringing back your love that used to be

Some have referred to the Delmore Brothers recording of this song as the first real rock and roll song; I think that is pushing it a bit, but it certainly is an excellent (and depressing song).

“Got A Letter From My Kid Today” was an old Tin Pan Alley song, with lyrics by Hy Zaret, who also wrote the Al Hibbler hit “Unchained Melody”. Bob Wills recorded and released it during the early years of WW2 but shellac shortages limited its distribution:

“Got a letter from my kid today
They let me read a line or two
I lost my teddy bear, I can’t remember where
Daddy is he there with you?”

“When My Last Song Is Sung” is a Haggard original, a highly introspective song about a singer looking back at his career and giving thanks to his maker. “Moanin’ The Blues” is the Hank Williams classic – not one of Hag’s stronger efforts but a nice recording anyway.

Merle Haggard’s boyhood idol was Lefty Frizzell. “Goodbye Lefty” is Merle’s goodbye to his recently departed idol and mentor. The song is a little gimmicky, working in various Lefty Frizzell song titles into the lyrics, but it works and is a thoughtful tribute to one of the greatest country singers of all time:

“I’d love to hear a jukebox play ‘I love you a thousand ways’
Or ‘If you’ve got the money I’ve got the time’
I’d walk a mile for mom and dad and the good times that we had
‘Look what thoughts will do’ when you sing ‘old pal of mine’.”

“Blues For Dixie” is a song recorded by Bob Wills in 1947 that has a Dixieland Jazz feel but a lyric consistent with the blues. “Running Kind” was a single that probably could have been a big hit with the proper promotional push behind it. Like many of Haggard’s best songs, it reflects the angst in his soul:

“I was born the running kind, leaving always on my mind
Home was never home to me at anytime
Every front door found me open I would find the back door open
There just had to be a lesson for the running kind

Within me there’s a prison, surrounding me alone
As real as any dungeon with a wall of stone
I know running’s not the answer, but running’s been my nature
And a part of me that keeps me moving on”

The best songs spring from unhappiness, despair and uneasiness. While this fact has made for some great songs, it also explains why it took Haggard so long to ever really settle down.

The title of “I’m A White Boy” is much less controversial than the title might suggest. Merle could easily have titled it ‘I’m A Poor Boy’ although the lyrical value would have been affected.

Haggard was always at his best when singing blues-based lyrics and this album gives him some outstanding songs to sink his teeth into. Haggard had gotten into a rut with his previous three or four Capitol albums, and the first two MCA albums Rambling Fever and My Farewell To Elvis really didn’t pull him out of it, although an artist rebirth was just around the corner.

Capitol would dredge up one more Haggard album before giving up, a tribute to Hank Williams and Lefty Frizzell titled The Way It Was in ‘51.

Grade: A