My Kind of Country

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

Tag Archives: Joe Babcock

Album Review: Porter Wagoner & Dolly Parton – ‘Once More’

folder-6August 1970, saw the release of the fifth Porter and Dolly duet album in Once More. The album featured five songs that Dolly had a hand in writing, plus two fine songs from the Don Reno and Red Smiley songbook, perhaps not so surprising since Porter’s fiddle player Mack Magaha had spent years playing with Reno and Smiley

The album opens up with “Daddy Was An Old Time Preacher Man” co-written by Dolly with her aunt Dorothy Jo Hope about the Reverend Jake Owens, Dolly’s maternal grandfather, who was a Pentecostal minister. Surprisingly, this would be the only single released from the album, reaching #4 on Record World, #7 on Billboard and #12 on the Canadian country chart. The song has the feel of an old-time gospel song and remains one of my favorite Porter & Dolly songs.

Daddy was an old time preacher man
He preacher the word of God throughout the land
He preached so plain a child could understand
Yes, Daddy was an old time preacher man
He told the people of the need to pray
He talked about God’s wrath and judgement day
He preached about the great eternity
He preached hell so hot that you could feel the heat

Yes, Daddy was an old time preacher man
Aunt Leanona would get up to testify
And we’d sing “In The Sweet By And By”
The we’d sing “I’m On My Way To Canaan Land”
Yes, Daddy was an old time preacher man

This is followed by a magnificent cut on the Reno and Smiley classic “I Know You’re Married But I Love You Still” a song that Mack Magaha wrote with Don Reno. The song, a quintessential forbidden fruit song was a staple of the Reno & Smiley repertoire for years and has been covered as an album track by many country artists. The duo of Bill Anderson and Jan Howard had a minor hit with the song as did Red Sovine.

The day I met you my heart spoke to me it said to love you through eternity
I know exact you were another’s pride I vowed I always be close by your side
I love you Darlin and I always will
I know you’re married but I love you still
You broke a heart dear that would die for you
I’d give the world if I could be with you

“Thoughfulness” is a modest ballad written by Dolly’s uncle Bill Owens. The song is a little subdued compared to most of the duo’s material but it makes a nice album track.

“Fight and Scratch” is one of those humorous ‘bickering couples’ songs that Dolly excelled in writing. I think it would have made for a good single but perhaps RCA was leery of issuing too many novelties as singles.

Fight and scratch fight and scratch that’s all we ever do
There surely must be more to love than to fight and scratch with you
You you to fight and scratch with you
Well you just bought a foal last month now you want a wig
It looks like you couldn’t understand my paycheck ain’t that big
Well what about the dough you lose in them poker games downtown
I figured you’d mention that smart aleck
Yeah and that brand new boat and that fishin’ gear
But no uhhuh I don’t reckon that’d count really
Fight and scratch fight and scratch…

Louis Owens wrote “Before Our Weakness Gets Too Strong” is a straight ahead country ballad, a let’s not cheat song. I’m guessing that Louis Owens might be one of Dolly’s kin.

“Once More” was the last top ten chart hit for the King of Country Music Roy Acuff back in 1958. Later the Osborne Brothers recorded the song for Decca. Porter and Dolly harmonize nicely on the song, but their recording sounds tame compared to the Acuff and Osborne versions. I think if the song had been considered as a single, the duo would have put more muscle into this Dusty Owens (no kin to Dolly) song.

Once more to be with you dear
Just for tonight to hold you tight
Once more I’d give a fortune
If I could see you once more

Forget the past this hurt can’t last
So I don’t want it to keep us apart
Your love I need say you’ll love me
And say you’ll give me all of your heart

Joe Babcock’s “One Day At A Time” is neither the same song has Marilyn Sellars gospel hit from 1974 and nor is the same song that Don Gibson hit from that same year. This song is a reflective song about the way to approach life.

Dolly wrote “Ragged Angel”, another one of those doomed children songs that Dolly apparently needed to write as a catharsis. It’s a good song but the lyrics are nothing special. What is of interest is the exquisite Porter and Dolly’s vocal harmonies, which are a little different than their usual fare.

“A Good Understanding” is one of Dolly’s compositions, which suggests a marital relationship in which the ground rules were agreed upon in advance. The opening lyric suggests that this might have been an open marriage but as the lyrics unfold a more traditional relationship is revealed.

The album closes with the Don Reno composition “Let’s Live For Tonight”. While still sticking with usual bluegrass array of instruments, Reno and Smiley probably were the bluegrass group whose music most closely resembled the country music of its era.

Bob Ferguson is listed as the producer on this album, but I suspect that Porter Wagoner carried the bulk of the production duties. There is a characteristic Porter Wagoner & The Wagonmasters sound that permeates all of Porter’s RCA records. That isn’t a bad thing because it made the production of Porter’s records sound different that the vast majority of RCA product, but I am sure that it must have gnawed at Dolly at least a little, because if you removed Dolly’s voice from the duet albums you would have a Porter Wagoner record that sounded incomplete, needing another voice or voices. I like this album quite a bit but for whatever reason, this album is not quite as exuberant as some of their prior (and future efforts). I’d give this a B+ but a little more emphatic treatment of a couple of the songs would have turned this into an A. 


Advertisements

Classic Review: Stonewall Jackson – ‘Stars Of The Grand Ole Opry’ (1981)

stars of the grand ole opryDuring the 1960s, 1970s and 1980s major labels trimmed their rosters, shedding veteran artists who were no longer cranking out the hits or generating decent album sales. Sometimes these veteran artists would find another major label deal but mostly these artists wound up on minor / independent labels. Even those artists who managed to find a major label deal found their stay at the new label to be a short one that lead to landing on a minor label (for example, Jimmy Dickens: Columbia > Decca > Gusto / Charlie Walker: Columbia > RCA > Plantation).

While on the minor / independent labels, most of the veteran artists recorded very little new material, usually producing an album or two of dreary remakes of their older hits with perhaps some covers of other big hits from artists (it is astounding how many artists issued albums listing songs such as “San Antonio Rose”, “There Goes My Everything” and “There Stands The Glass” among their greatest hits).
Most of these albums featured low budget production, thin sound, and were recorded with minimal numbers of disinterested musicians accompanying a bored vocalist singing songs sung literally thousands of times before.

First Generation Records was owned by Pete Drake (1932-1988), one of the great steel guitar players, and a musician who was not about to settle for the bored and tired performances described above. Producing the records himself, and often playing steel guitar on the recording sessions, Pete gathered a group of excellent musicians to play on his recording sessions. Rather than merely re-recording an artist’s older hits, Pete’s Stars of the Grand Ole Opry series generally featured five songs new to the artist (and often simply new songs) followed by five of the artist’s older hits but with a difference, that difference being energized singers and musicians. Among the artists featured on the series were Ferlin Husky, Jan Howard, Vic Willis, Stonewall Jackson, Billy Walker, Ernest Tubb, George Hamilton IV, Ray Pillow, Jean Shepard, The Wilburn Brothers and Charlie Louvin. While all were decent to very good albums, the album with Stonewall Jackson is the standout among the series.

Prior to this album, Stonewall Jackson has not spent much time in the recording studios since his last new Columbia album was issued in 1971. There had been an album in 1976 for GRT (I think the tracks were leased from MGM, intended for a never released 1973 album) reprising his Columbia hits in the manner of most remake albums, plus a deplorable new song from Foster & Rice titled “Herman Schwartz”. There was a pair of 1979 albums for Little Darling with little to recommend them. One of the Little Darlin’ albums was remakes and the other was largely undistinguished new material, although two of the songs had clever song titles, “The Pint of No Return” and “The Alcohol of Fame”.

For Stonewall Jackson’s First Generation sessions, in addition to playing steel himself, Pete gathered up an all-star lineup of Nashville session men including Jimmy Capps, Billy Sanford, Pete Wade and Bill Hullett (guitar), Jimmy Crawford and John Hughey (steel), Hargus “Pig” Robbins and Bobby Emmons (piano), Tommy Williams (fiddle), Bob Moore and Randy Best (bass).

The album opens up with the Billy Joe Shaver composition “I’m Just An Old Chunk of Coal”, a very recent hit for John Anderson (I think it is possible that Jackson’s version pre-dates Anderson’s recording, but I’m not certain); Billy Joe’s album also hit the streets in 1981. Whatever the timing, I feel that the Stonewall Jackson recording is the best recording I’ve ever heard of the song, far better than Billy Joe’s version and slightly better than John Anderson’s version. Stonewall sings the song with great enthusiasm as the lyric fits the ‘hardscrabble-pull up your own bootstraps’ upbringing of Stonewall’s youth:

Hey, I’m just an old chunk of coal
But I’m gonna be a diamond some day
I’m gonna grow and glow till I’m so blue, pure, perfect
I’m gonna put a smile on everybody’s face
I’m gonna kneel and pray every day
At last I should become vain along the way
I’m just an old chunk of coal now, Lord
But I’m gonna be a diamond some day

R.J. Jones and M. Kosser wrote “Full Moon, Empty Pockets”, a song that several artists subsequently recorded. The song tells a tale of woe that many of us have encountered – time on our hands but no money.

Full moon empty pockets
Stone broke on a Saturday night
Full moon empty pockets
Won’t a lady treat a cowboy right

Next up is “There Are No Shortcuts (To Get Me Over You)”, a good heartbreak ballad that of the kind that Stonewall Jackson always tackled well. This is followed by a song from Ben Peters and Curly Putman, “Breaking Up Breakdown”, a song that I could see as a successful single had it been issued in 1966 rather than 1981. The song is an up-tempo barroom ballad in which the narrator asks for the band to keep playing that song about breaking up.

The last of the newer songs is ”Let The Sun Shine On The People” by Frank Dycus and Larry Kingston. Frank Dycus, of course, wrote some of George Strait’s hits and Larry Kingston provided a number of songs to Johnny Bush and other singers.

At this point the nostalgia trip begins, but with an enthusiastic Stonewall Jackson leading the way on excellent new versions of some of his classic hits, starting off with his biggest hit (#1 Country / #4 Pop) “Waterloo”. For those familiar only with the ABBA hit of the same name, this song is a bit of a romp through history referencing Adam, Napoleon and Tom Dooley:

Now old Adam, was the first in history
With an apple, he was tempted and deceived
Just for spite, the devil made him take a bite
And that’s where old Adam met his Waterloo

Chorus
Waterloo, Waterloo
Where will you meet your Waterloo
Every puppy has his day and everybody has his day
Everybody has to meet his Waterloo

Waterloo was such a big hit that Homer & Jethro took the time to spoof it:

The Lone Ranger and Tonto rode the trail
Catching Outlaws and putting them in jail
But the Ranger shot Tonto for it seems
He found out what ‘kemosabe’ means

Perhaps Stonewall’s most enduring song, “Don’t Be Angry,” is up next. Written by Stonewall’s brother Wade Jackson, not only was it a big hit for Jackson, but Donna Fargo took the song to the top during the 1970s and the song has been covered by many artists and remains in the active repertoires of county bar bands across the USA.

Don’t be angry at me darling if I fail to understand
All your little whims and wishes all the time
Just remember that I’m dumb I guess like any foolish man
And my head stays sorta foggy cause you’re mine

Well, I recall the first time that I flirted with you dear
When I jokingly said come and be my bride
Now that time has turned the pages it’s the sweetest joke on earth
That I have you near forever by my side

Joe Babcock authored the next Stonewall Jackson classic “I Washed My Hands In Muddy Water”, which also was a major hit for pop crooner Pat Boone and has also been a favorite of the R&B crowd and many of the rock & roll crowd as well, including Elvis Presley and Johny Rivers

I was born in Macon Georgia
They kept my daddy over in Macon jail
He told me if you keep your hands clean
You won’t hear them bloodhounds on your trail

Well I fell in with bad companions
Robbed a man, oh up in Tennessee
They caught me way up in Nashville
They locked me up and threw away the key

Chorus
I washed my hands in muddy water
Washed my hands, but they didn’t come clean
Tried to do what my daddy told me
But I must have washed my hands in a muddy stream

Next up is Bill Johnson’s “A Wound Time Can’t Erase”, a sad and tender ballad that was a big hit for Stonewall and later for Gene Watson.

The fifth and final Stonewall Jackson classic is the Melvin Endsley / Stonewall Jackson composition “Why I’m Walkin’”, a song Ricky Skaggs covered during the 1980s. Melvin Endsley was a disabled person who wrote several classic country songs including “Singling the Blues” and “Knee Deep In The Blues”. Some readers may remember an alternate title “Got My Angel On My Mind”, but however you label this ballad, it’s a good one.

I’ve got an angel on my mind, that’s why I’m walkin’
There’s such an aching in this old heart, now I ain’t talkin’
The little hand that held mine tight, just waved goodbye tonite
I’ve got her sweet love on my mind, that’s why I’m walkin’

This album is still readily available on CD, as are most of the other albums in the series. Unfortunately, Pete Drake began experiencing health problems in 1985 and passed away in 1988. I would like to have seen Pete issue new albums on the next generation of veteran artists released by the major labels. It would have been much better music than much of what was actually released by other minor/ independent labels over the next decade. Anyway, almost unique among this class of minor label albums by veteran artists, this album rates a solid A, the first album for Stonewall in many years that I would rate that highly.