My Kind of Country

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

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Classic Album Review — ‘The Carl Smith Anniversary Album: 20 Years of Hits’

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.

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Classic Album Review – Mac Wiseman – ‘Mac Wiseman’

Growing up as a military brat during in the 1950s and 1960s, we didn’t always live in an area where there were full time country music stations. Since Dad had a decent record collection, I was always able to listen to country music, but bluegrass wasn’t really Dad’s favorite subgenre of the music. As I recall, he had one Flatt & Scruggs album and a cheapie album by some non-descript group called Homer & The Barnstormers. Consequently, unless we lived in an area with a country radio station, I really didn’t often hear bluegrass music.

While in college I finally purchased a couple of bluegrass albums. One of the albums, Tennessee by Jimmy Martin, was on Decca. It is a great album that I highly commend to everyone.

The other album, Mac Wiseman, was on the Hilltop label. Hilltop was a reissue album that labels such as Dot, Capitol (and a few other labels that did not have their own cheap(er) reissue label) would reissue older material. Released in 1967, Hilltop JS 6047 consisted of Mac Wiseman tracks licensed from Capitol Records. While I only paid $1.29 for it brand-new, I regard it as one of the true treasures of my record collection.

With tracks recorded between 1960 and 1964, the album features a stellar collection of country and bluegrass musicians such as Ray Edenton (guitar), Benny Williams (mandolin), Joe Drumright and Buck Trent (banjo), Lew Childre (dobro) and Tommy Jackson, Buddy Spicher and Chubby Wise on fiddles.

Since it was on a budget label, the album contains only ten tracks, instead of the customary twelve tracks found on full price albums.

The album opens up with an up-tempo traditional tune “Footprints In The Snow” about a fellow who finds the love of his life by rescuing her from a blizzard. Buddy Spicher and Chubby Wise are featured on twin fiddles on this track and the next two tracks. Everyone from Bill Monroe onward recorded the song, but Mac’s version remains my favorite.

Now some folks like the summertime when they can walk about
Strolling through the meadow green it’s pleasant there no doubt
But give me the wintertime when the snow is on the ground
For I found her when the snow on the ground

I traced her little footprints in the snow
I found her little footprints in the snow
I bless that happy day when Nellie lost her way
For I found her when the snow was on the ground

Next up is “Pistol Packin’ Preacher”, written by Slim Gordon, another up-tempo romp, about a preacher who brought the gospel to the west, while being armed to defend himself and others when necessary.

“What’s Gonna Happen To Me?” is a slower song about a fellow lamenting the loss of love. This song was composed by the legendary Fred Rose with Gene Autry sometimes receiving co-writer credit. I’ve heard Autry’s version but I think Wiseman’s version is slightly better.

The flower of love came to wither and die
Our romance was never to be
No matter what happens I know you’ll get by
But what’s gonna happen to me

I’ll never be able to love someone new
Cause somehow I’ll never feel free
I’m sure you’ll find someone to care about you
But what’s gonna happen to me

“Tis Sweet To Be Remembered” is one of Mac’s signature songs. Originally recorded for Dot Records in 1957, this remake is in no way inferior to the original version. Mac is joined by Millie Kirkham and the legendary Jordanaires Quartet on this number and on the closing track of Side One, “I Love Good Bluegrass Music”.

‘Tis sweet to be remembered on a bright or gloomy day
‘Tis sweet to be remembered by a dear one far away
‘Tis sweet to be remembered remembered, remembered
‘Tis sweet to be remembered when you are far away

Side Two opens up with the lively “What A Waste of Good Corn Likker” about a fellows girl friend who falls into a vat of corn liquor and has to be ‘buried by the jug’. Unfortunately I have no session information at all about this track.

Cousin Cale upon the Jew’s harp
Played a mighty mournful tune
Kinfolks bowed their heads and gathered ’round
Then I heard the parson sing
Drink me only with thine eyes
As we watch them pour poor Lilly in the ground

Oh, what a waste of good corn liquor
From the still they pulled the plug
All the revenuers snickered ’cause she melted in the liquor
And they had to bury poor Lilly by the jug

Now I’m sitting in the twilight
‘Neath the weeping willow tree
The sun is slowly sinking in the west
And I’m clasping to my bosom
A little jug of Lilly Mae
With a broken heart I’m longing for the rest

Next up is the Marty Robbins-penned nostalgic ballad “Mother Knows Best”. Tommy Jackson and Shortly Lavender handle the twin fiddles on this track, and the next track, penned by Cindy Walker –
“Old Pair of Shoes”.

The album closes with a pair of country classics. “Dark Hollow” was penned by Bill Browning and has been recorded by dozens (maybe hundreds) of country and bluegrass artists and even such rock luminaries as the Grateful Dead. Jimmie Skinner, who straddled the fence between the two genres, had a top ten single with the song in 1959. Mac inflects the proper amount of bitterness into the vocal.

I’d rather be in some dark hollow where the sun don’t ever shine
Then to be at home alone and knowin’ that you’re gone
Would cause me to lose my mind

Well blow your whistle freight train carry me far on down the track
Well I’m going away, I’m leaving today
I’m goin’, but I ain’t comin’ back.

The album closes out with Kate Smith’s signature song “When The Moon Comes Over The Mountain”, a nostalgic ballad composed long ago by Harry Woods, Howard Johnson and Kate Smith. Kate took the song to #1 in 1931 and used it as her theme song for her various radio shows and personal appearances.

When the moon comes over the mountain
Every beam brings a dream, dear, of you
Once again we’ll stroll ‘neath the mountain
Through that rose-covered valley we knew
Each day is grey and dreary
But the night is bright and cheery
When the moon comes over the mountain
I’ll be alone with my memories of you

Many of these songs appear to be from previously uncollected singles but whatever the source, Mac Wiseman is in good voice throughout and the band completely meshes with what Mac is attempting to do. Bear Family eventually released these tracks in one of their expensive boxed sets, but for me, this album boils down the essence of Mac Wiseman in ten exquisite tracks. I still play this album often.

Grade: A+