My Kind of Country

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

Tag Archives: Kenny Rogers

Album Review: Lonestar – ‘Lonely Grill’

41mmbvjspklFor their third outing, Lonestar joined forces with a new production team consisting of Dann Huff, Sam Ramage and Bob Wright. The result was a slicker and more pop-oriented sound and the best-selling album of the band’s career with more than three million units sold in the United States alone.

The lead single was the beat-driven, lyrically light party song “Saturday Night”, with a chorus consisting of song’s title being spelled out repetitively. Such a terrible song would be a monster hit today, but in the pre-bro country era, radio wasn’t impressed and it died at #47. I had never heard it before and did not even know it had been a single.

“Saturday Night” may have underperformed, but the album’s subsequent singles all rose to #1. The best-remembered of these is “Amazed”, the band’s signature tune which was also a huge crossover hit, reaching #1 on the Hot 100 — marking the first time a country act occupied that slot since Kenny Rogers and Dolly Parton scored a #1 pop hit with “Islands in the Stream” in 1983. “Smile”, “What About Now” and “Tell Her” were the remaining singles. All of them rank among Lonestar’s best loved hits, and deservedly so. These songs solidified Lonestar’s position as one of the era’s most successful — perhaps THE most successful — country bands. The upbeat “What About Now” is a nice change of pace from the ballads. “Smile” and “Tell Her” are a little more AC-leaning than I would like, but both are decent songs.

The album cuts are a little more of a mixed bag. I enjoyed the reggae-flavored Don Henry-Benmont Tench number “Don’t Let’s Talk About Lisa” and “I’ve Gotta Find You”, written by Richie McDonald with Ron Harbin and Marty Dodson. None of the other tracks are particularly memorable, with the exception of the closing number which is an acoustic remake of Lonestar’s earlier hit “Everything’s Changed”, which proves that a gifted vocalist and a good song can shine without the aid of glossy production.

Lonely Grill is a must-have for diehard Lonestar fans, but more casual listeners will probably be just as happy with their Greatest Hits package.

Grade: B

Classic Rewind: Kenny Rogers and Lee Ann Womack – ‘Every Time Two Fools Collide’

The song starts a couple of minutes in:

Classic Rewind: Dottie West – ‘Every Word I Write’

Week ending 5/28/16: #1 singles this week in country music history

Kenny-Rogers-19821956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: Distant Drums — Jim Reeves (RCA)

1976: After All the Good is Gone — Conway Twitty (MCA)

1986: Tomb of the Unknown Love — Kenny Rogers (RCA)

1996: My Maria — Brooks & Dunn (Arista)

2006: Why — Jason Aldean (Broken Bow)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): Somewhere on a Beach — Dierks Bentley (Capitol)

Week ending 1/16/16: #1 singles this week in country music history

faith_hill_2010_01956 (Sales): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Jukebox): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1956 (Disc Jockeys): <Love, Love, Love — Webb Pierce (Decca)

1966: Giddyup Go — Red Sovine (Starday)

1976: Convoy — C.W. McCall (MGM)

1986: Morning Desire — Kenny Rogers (RCA)

1996: It Matters to Me — Faith Hill (Warner Bros.)

2006: She Let Herself Go — George Strait (MCA)

2016: Die a Happy Man — Thomas Rhett (Valory)

2016 (Airplay): Die a Happy Man — Thomas Rhett (Valory)

Week ending 8/29/15: # singles this week in country music history

do-not-reuse-glen-campbell-1970-bb35-billboard-650-21955 (Sales): I Don’t Care — Webb Pierce (Decca)

1955 (Jukebox): I Don’t Care — Webb Pierce (Decca)

1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)

1965: Yes, Mr. Peters — Roy Drusky & Priscilla Mitchell (Mercury)

1975: Rhinestone Cowboy — Glen Campbell (Capitol)

1985: Real Love — Dolly Parton with Kenny Rogers (RCA)

1995: You’re Gonna Miss Me When I’m Gone — Brooks & Dunn (Arista)

2005: As Good as I Once Was — Toby Keith (DreamWorks)

2015: House Party — Sam Hunt (MCA)

2015 (Airplay): Loving You Easy — Zac Brown Band (Southern Ground/BLMG/Republic)

Album Review: Dale Ann Bradley – ‘Pocket Full Of Keys’

pocket full of keysDale Ann Bradley’s exquisite, crystalline voice has led to her winning the IBMA’s Female Vocalist of the Year title no less than five times. She may not be as well known among country fans as Alison Krauss or Rhonda Vincent, but she certainly deserves to be. For the first time she has produced her own album, and the result is the best record she has ever made. She draws largely on her deprived childhood in a rural part of Kentucky lacking safe electricity and running water

Although it sounds as if it might be an ancient Appalachian folk tune, ‘The Stranger’ is a song Dolly Parton wrote for Kenny Rogers. It tells the tragic tale of an abandoned pregnant woman whose lover returns far too late, only to be rejected by the grown child. Dale Ann sings it beautifully.

The delicate and metaphorical title track (a self-penned number) is about discovering one’s true self and strength in adversity. Jim Lauderdale comes on board as duet partner on ‘Hard Lesson Road’, which looks back at the experiences one learns painfully from, with some lovely fiddle

‘Rachel, Pack Your Sunday Clothes’ is a somber message urging an absent child to be reconciled while her father is still alive. The emotive story song ‘Soldiers, Lovers And Dreamers’ is about idealistic young love derailed by harsh reality.

‘Sweet Hour Of Prayer’ is a heavenly ballad, while ‘I’ll Live On Somewhere’ is a bluegrass gospel quartetled by Dale Ann.

The traditional ‘Sweetheart Of The Pines’ is classic high lonesome at its best, while there is a lovely version of the country classic ‘I’m So Afraid Of Losing You Again’, which is a highlight. ‘Til I Hear it From You’ is a cover of a 90s rock song; Dale Ann’s exquisite voice remakes the song in her own image, but it is still one of my less favourite tracks.

The pacier material is a bit less memorable and showcases Dale Ann’s extraordinarily beautiful voice less well, but songs like ‘Ain’t It Funny’, a philosophical acceptance of the end of a love affair, and ‘Talking To The Moon’ are still solid fare.

This is an outstanding bluegrass album which should have equal appeal to fans of acoustic country.

Grade: A

My reissues wish list – part 1: Kapp, Mercury and Plantation/Sun

portergibson

roger millerIt should be no surprise to anyone that my tastes in country music run very traditional. While much of the music of the “New Traditionalists” movement of 1986-1999 remains available, as it should since it was digitally recorded, the music of the “Old Traditionalists (roughly 1925-1975) is another story.

When radio converted to digital starting in 1986, most radio stations, particularly FM stations, refused to play anything that was not on compact disc. As a result, a country oldie to these stations meant Alabama, Crystal Gayle, Ronnie Milsap and Kenny Rogers (artists whose back catalogue made it to digital formats) while the likes of such superstars as Charley Pride, Sonny James, Ray Price, Carl Smith, Ernest Tubb and Webb Pierce were lost to posterity.

Over time, the older country music began to be available, although often the availability was that of a four plus discs sets from Bear Family that was decidedly overkill for all but the most diehard fans. I am not knocking Bear, which in recent years has begun to issue some single disc collections. The Bear sets are as good as humanly imaginable, terrific sound, fabulous books and many of the discs have 85-87 minutes of music. They are great, but they run $22-$25 per disc.

Eventually more reissue labels emerged, mostly in Europe where the copyright laws had copyright protection lapse after fifty years. This changed recently to 70 years resulting in slowdown in reissues. I think recordings made in 1963 or later have the new 70 year copyright protection.

American record labels started to mine their back catalogues after 1991, but generally only for their biggest stars. A number of decent box sets have been issued, but again, only on the biggest stars.

Enough with my complaining – let’s start with a couple of relatively minor labels, in the first of a new series.

KAPP RECORDS

Kapp was a minor label that was eventually purchased by MCA. The biggest star on the label was pop balladeer Jack Jones, truly a fine singer. In the world of country music it was more of a launching pad for new artists and a resting place for over-the-hill singers.

Bobby Helms (“My Special Angel” & “Fraulein“) was on the label after his pop success waned. One could put together a nice CD of his Kapp recordings.

After many years of knocking about, Freddie Hart landed on Kapp. While I regard Freddie’s Kapp material as his best, he really had no big hits. Eventually Hart landed at Capital where “Easy Loving” made him an ‘overnight’ star. Kapp issued six albums on Freddie Hart, plus a hits collection. The six studio albums probably could fit on a nice two CD set

Mel Tillis released nine albums (plus two hit collections) while on Kapp. It’s not his best material but there were some classic songs (“Ruby Don’t Take Your Love To Town” / “Something Special” / “All Right (I’ll Sign The Papers)” / “Who’s Julie” / “Goodbye Wheeling” / “Life Turned Her That Way” / “Stateside“/ “Heart Over Mind“) that were as good as anything he ever recorded elsewhere, A nice set with about sixty songs would suffice.

Ernest Tubb was sure that Cal Smith would be a star someday. Someday was about six years later. Meanwhile Kapp released seven albums plus a hits collection on Cal. One of Cal’s Kapp hits (“Drinking Champagne” would be a big hit for George Strait many years later. After a long wait, a decent collection of Cal’s MCA/Decca hit eventually emerged but none of his Kapp classics are available. Cal had some really good songs including “Drinking Champagne”, “You Can’t Housebreak A Tomcat“, “Destination Atlanta G.A“, and “Heaven Is Just A Touch Away“.

MERCURY RECORDS

Foreign labels have done a good job of getting Jerry Lee Lewis and Tom T. Hall back into circulation, but Dave Dudley and Roy Drusky have been badly neglected. Mercury had an additional label, Smash, but artists occasionally moved from Smash to Mercury in midstream.

Mercury released eighteen albums plus three hits collections on Dave Dudley and all we have available is one stinking CD collection with twelve songs on it, two of the tracks being remakes of “Six Days On The Road” and “Cowboy Boots”. Dave had thirty-one chart hits for Mercury. C’mon, if nothing else a nice two CD set with the thirty-one chart hits plus some key album cuts. The King of The Truckers deserves no less – so beloved by truck drivers was Dave that the Teamsters Union gave Dave a gold union membership card.

Roy Drusky was a smooth voiced balladeer who had over forty chart records, eight with Decca and thirty two with Mercury. Same comment applies to Ray as applies to Dave Dudley – a nice two disc set is needed.

Roger Miller may have been the most talented performer to ever record in the country music genre. Roger barely even need a guitar to keep folks entertained. Back in 1991 & 1992 Polygram (the label that purchased Mercury ) issued a pair of two twenty song CDs, one featuring songs Roger wrote that were hits for other artist and the other featuring Roger’s hits. Eventually a modest boxed set was issued, but those are long out of print. Although they were good efforts, Roger’s albums deserve to be reissued intact.

PLANTATION/SUN INTERNATIONAL

During the late 1960s – early 1970s, Plantation became kind of an old folks’ home for country artists on the way down. Many a fading star re-recorded their greatest hits for label owner Shelby Singleton. For many of these older artists, it was the only way for them to keep their music available for their fans. Webb Pierce, Jimmie Davis, Jimmy C. Newman, Hank Locklin, Charlie Walker, Kitty Wells, Dave Dudley and Roy Drusky were among the artists that had twenty song cassettes issued, and for some artists, there was some new material recorded. I don’t think Plantation has much more than thirty or so songs recorded for these veteran artists (except Webb Pierce), so they should just take everything they have on a given artist and issue a CD. True, the original recording were better but all of these recordings were at least decent.

I do not pretend that this is an exhaustive list as there are many more artists whose artistry justifies more than is currently available. I noticed that Country Universe recently posted a Wish List segment on their Daily Top Five Feature. This series was not inspired by their article as I had this nearly completed before they posted their feature.

Album Review: Country Music of Your Life

country-music_good-brightTime-Warner has long been a trusted name for providing excellently re-mastered music in various genres of music. Country music fans may remember the Country USA series that covered each year for the period 1950-1972 with 24 songs, including some interesting songs that weren’t necessarily the biggest hits (usually because they weren’t on major labels).

The R&B market was covered by a similar series and the Easy Listening market hit the jackpot with the Your Hit Parade series that exhaustive covered the years 1940-1960 by year plus a bunch of CDs that grouped music together by theme or topic and extended the series into the 1960s, I don’t know whether or not I have the entire Your Hit Parade series but I do have forty-one CDs of the series covering about 1000 recordings.

Subsequent Time-Life series have featured the same digital mastering and useful notes but have been less exhaustive in scope. The Contemporary Country series would cover a three or four year period with a single disc of 22 songs, so the lesser known and minor label songs largely were gone. The latest Time-Life series is a collaboration with Music of Your Life, a radio format largely devoted to the easy listening/adult contemporary music market. Time-Life has collaborated before with Music of Your Life in assembling CDs of the music usually associated with the format. The actual label for this set is Star Vista/Time Warner.

Titled Country Music of Your Life, this latest set is a group of five two-CD sets in standard CD jewel boxes that hold two CDs. The booklet in the jewel box gives only the songwriting and publisher credits and billboard chart information . Additional information is contained in the 36 page book enclosed in the box. The titles of the CD sets are Talking In Your Sleep, Satin Sheets, I Believe In You, For The Good Times and Sweet Country Ballads. All but the last set are named after a song featured on one of the discs of the set.

By and large the first four sets are just random assortments of songs. All of the songs are big hits performed by the artists that enjoyed the hit, and the songs cover a wide range of dates. The first set has Hank Williams’ posthumous 1953 hit “Your Cheatin’ Heart” and Kenny Rogers’ 1980 hit “Lady” with sixteen of the tracks from the 1970s. The second set follows a similar pattern with Lefty Frizzell replacing Hank Williams as the token early 1950s representative.

The fifth set would please any fan of traditional country music (aside for the two Elvis Presley tracks, one a cover of “Green Green Grass of Home”). This set includes such gems as “Crazy Arms”, “Once A Day”, “Ring of Fire”, “Walk Through This World With Me” and “Please Help Me I’m Falling”. In theory the set consists of four two-CD sets with the fifth set as a “free bonus” (the television advertising was misleading). Accordingly, the enclosed book, although truly excellent, only covers the first four sets. The book is concise and well-written, giving interesting tidbits of information about the song and/or the performance, there are eight full page photographs of some of the stars (I think they reversed the image of the Glen Campbell photograph, which I recognized as the cover photo from Glen’s Wichita Lineman album) . Here’s an example of the book’s tidbits, this one about Sammi Smith’s “Help Me Make It Through The Night”:

“Whatever criticism that had been leveled against Nashville’s conservative approach to how records sounded, there’s no question that the songs themselves were getting edgier. Sammi Smith moved to Music City in 1967 and befriended songwriter Kris Kristofferson. County fans bought into the sexual frankness of ‘Help Me Make It Through The Night’; the single went gold,earning Grammys for both Smith and Kristofferson. Smith’s record also boosted Kristofferson’s reputation as one of the best songwriters of his generation.”

Here’s another, this one on Waylon Jennings’ “Amanda”:

“Bob McDill called ‘Amanda’ an apology to his wife, Nan, and it almost became the hit that got away for Waylon Jennings. McDill sent the demo to Waylon’s office, where it got lost. Jennings, who first heard the song when Don Williams’s version came out in 1973, recorded ‘Amanda’ for his 1974 album The Ramblin’ Man. RCA added overdubs nearly five years later; the “new and improved” ‘Amanda’ gave Waylon his seventh No. 1 hit as a solo artist.”

The booklet in the jewel box for the fifth or “bonus” set is flawed in that it only gives information for the first disc in the set.

If you are new to country music and suspect that there is more to the genre than Rascal Flatts, Jason Aldean, Luke Bryan and (ugh) Florida Georgia Line, this set is a good starting point. With the notable exceptions of Ernest Tubb, Carl Smith and Webb Pierce, most of the most significant artists of the period 1952-1988 are represented here, even if there is a bit more Elvis Presley and Olivia Newton-John than I feel is justified. The sound quality is terrific – you won’t hear better recordings of these songs.
Apparently there is a deluxe edition available for purchase which features 270 songs on eighteen discs. In either version the discs average 15 songs per CD (30 songs per set) and cost about $15 per disc or $30 per two disc set. Payment installments are available.

I would give the following grades:

Sound Quality:    A+
Book & Booklets:  A-
Song Selection:  B-
Value:   B-

The song lists as well as ordering information can be found at the Time-Life website.

Week ending 4/4/15: #1 singles this week in country music history

craigmorgan4-x6001955 (Sales): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Jukebox): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Disc Jockeys): In The Jailhouse Now — Webb Pierce (Decca)

1965: King of the Road — Roger Miller (Smash)

1975: The Bargain Store — Dolly Parton (RCA)

1985: Crazy — Kenny Rogers (RCA)

1995: Thinkin’ About You — Trisha Yearwood (MCA)

2005: That’s What I Love About Sunday — Craig Morgan (Broken Bow)

2015: Take Your Time — Sam Hunt (MCA)

2015 (Airplay): Ain’t Worth The Whiskey — Cole Swindle (Warner Bros.)

Week ending 12/20/14: #1 albums this week in country music history

garth brooks - garth brooks and the magic of christmas1964: Buck Owens- Together Again (Capitol)

1969: Charley Pride – The Best of Charley Pride (RCA Victor)

1974: John Denver – Back Home Again (RCA)

1979: Kenny Rogers – Kenny (United Artists)

1984: Willie Nelson –  City of New Orleans (Columbia)

1989: Randy Travis – No Holdin’ Back (Warner Brothers)

1994: Tim McGraw – Not a Moment Too Soon (Curb)

1999: Garth Brooks – Garth Brooks and the Magic of Christmas (Capitol)

2004: Shania Twain – Greatest Hits (Mercury)

2009: Taylor Swift – Fearless (Big Machine)

2014: Garth Brooks – Man Against Machine (RCA/Pearl)

Christmas Rewind: Kenny Rogers & Dolly Parton – ‘The Greatest Gift Of All’

Week ending 12/13/14: #1 albums this week in country music history

buck owens - together again1964: Buck Owens- Together Again (Capitol)

1969: Johnny Cash – At San Quentin (Columbia)

1974: Merle Haggard – Merle Haggard Presents His 30th Album (Capitol)

1979: Kenny Rogers – Kenny (United Artists)

1984: Willie Nelson –  City of New Orleans (Columbia)

1989: Randy Travis – No Holdin’ Back (Warner Brothers)

1994: Tim McGraw – Not a Moment Too Soon (Curb)

1999: Shania Twain – Come On Over (Mercury)

2004: Shania Twain – Greatest Hits (Mercury)

2009: Taylor Swift – Fearless (Big Machine)

2014: Garth Brooks – Man Against Machine (RCA/Pearl)

Week ending 12/6/14: #1 albums this week in country music history

george strait - lead on1964: Buck Owens- Together Again (Capitol)

1969: Johnny Cash – At San Quentin (Columbia)

1974: Merle Haggard – Merle Haggard Presents His 30th Album (Capitol)

1979: Kenny Rogers – Kenny (United Artists)

1984: Willie Nelson –  City of New Orleans (Columbia)

1989: Randy Travis – No Holdin’ Back (Warner Brothers)

1994: George Strait – Lead On (MCA)

1999: Faith Hill – Breathe (Warner Brothers)

2004: Shania Twain – Greatest Hits (Mercury)

2009: Carrie Underwood – Play On (Arista/19)

2014: Garth Brooks – Man Against Machine (RCA/Pearl)

It’s that time of year: Predictions for the 48th annual CMA Awards

Logo for "The 48th Annual CMA Awards"With Brad Paisley and a pregnant Carrie Underwood set to host for the seventh straight year, and all the usual suspects set to perform, you’d think business would run as normal. But you’re wrong. Not only will this mark the first CMA telecast without Taylor Swift in nine years, pop starlet Ariana Grande is set to perform with Little Big Town while Meghan Trainor will sing her hit “All About That Bass” with Miranda Lambert. Few other surprises have been announced, but God only knows why Trisha Yearwood has been regulated to a presenter’s slot and not given prime exposure to sing “PrizeFighter” with Kelly Clarkson.

At any rate, here are the nominees. You’ll find my Should Win / Will Win perdictions below. Do you agree/disagree? Sound off in the comments.

Entertainer of the Year

george-strait-credit-vanessa-gavalya-650Blake Shelton and Keith Urban have one trophy apiece while George Strait is nominated the year he gave his final concert. Only Luke Bryan and Miranda Lambert, who are on their second nominations, have yet to win.

Should Win: George Strait – The Country Music Hall of Famer and country music legend wrapped his Cowboy Rides Away Tour a year after beating his younger competition to win this award for the first time in 24 years. When all is said and done, the CMA would be foolish to deny Strait his rightful place as an all-time category winner (four wins), along with Garth Brooks and Kenny Chesney.

Will Win: George Strait – Prissy Luke Bryan can have his turn with his third consecutive nod next year. Strait, who’ll never be eligible for this award again, will go out in style.

Female Vocalist of the Year

m.lambert_264_Rsm_1595A milestone year, as Martina McBride and Miranda Lambert go for their record fifth win and Taylor Swift makes what’ll likely be her final appearance in the category. No artist has won five trophies; only Reba has as many as McBride and Lambert, so it’ll be very interesting to see how the Country Music Association votes this year.

Should Win: Kacey Musgraves – a year after winning Best New Artist and scoring two Grammy Awards, the only nominee who hasn’t won should emerge victorious with just her second nomination. 

Will Win: Miranda Lambert – stranger things have happened, but the artist with the most nominations usually walks away with at least one major award. It’s definitely time to spread the wealth, but that likely won’t come this year, thus helping Lambert make CMA history.

 dierks-600x399Male Vocalist of the Year

Jason Aldean has never been much of a compelling singer, but his radio and touring success should’ve earned him his fourth consecutive nomination. Dierks Bentley is back four years after his last nod, correcting a major oversight, and Keith Urban shows up for the tenth consecutive time.

Should Win: Bentley – it’s a race this year between Bentley and Luke Bryan, both of who deserve first time wins. But Bentley gets the edge thanks to seniority, and it’s about damn time, too.

Will Win: Blake Shelton – the reining champion is about the only one who can stop Bentley’s momentum. His material is getting weaker and his shtick ever more tiresome, but he’ll endure himself to voters anyways.

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Gene Watson interview revisited

Gene WatsonIn 2009, I had the opportunity to interview Gene for the now quiescent http://www.9513.com after the release of his A Taste of The Truth album.

***

PWD: I read recently in an interview that was done on another website concerning your interest in automobiles. I won’t rehash that territory, but being a fan of autos, do you have any particular favorites among the racing circuits – either CART, Indy, or NASCAR?

GW: Well, I watch drags. I like NHRA and I like NASCAR, too. I’m a John Force fan – the whole team in the drag racing field. I’m a huge fan of Carl Edwards. I like all types of racing. But NASCAR and drag – NHRA – would probably be my favorites [PWD note: as of 2011, Gene still owned and operated a body shop].

PWD: I’ve noted that some of the European labels have done a good job of getting some of your older recordings back in print. I have no idea who Hux Records is, but they became my favorite label when they started reissuing some of those old Capitol albums of yours. How did that come to be?

GW: I don’t know. You know, that was negotiated through Capitol Records. Unfortunately, I don’t own the masters. If I did, they would be available through me… Hux has been real good to put these selections together. They’re usually on a dual album set. The people that are fortunate enough to find them, they tell us how proud they are to have them back because a lot of those songs are out of print. You can’t buy them any more, so it just kind of gave them a new life when Hux came back with them.

PWD: Are there any plans for any of your MCA, Epic, or Warner Brothers cuts to be reissued?

GW: Yes, in fact I’m planning on going in the studio as quick as possible and starting to redo all of that stuff. Bring it back with better quality and all that and still keep the original Gene Watson feel on it. That’s one of our definite plans for the future, and hopefully within the next few months. [PWD note: this project was released as The Best of The Best – Twenty Five Greatest Hits in 2012. Gene used the original arrangements and as many of the original musicians as he could find – a definitive A+.]

PWD: I’ve seen recently that some of your recordings are available on the website for Tee Vee Records, King Records, Gusto – those labels. Are those new recordings or are those reissues of some of the older stuff?

GW: They’re reissues of the recordings from Capitol and Step One Records…

PWD: I thought it’d be interesting to maybe get you to discuss some of the recordings of the past. Would you mind?

GW: Okay.

PWD: Let’s see how it goes. I’m going to ask you first off about my absolute favorite Gene Watson recording – and there are about ninety-five others that are in second place – but the one that just really grabbed me when I first heard it was “The Old Man and His Horn.” It sounds like there should be a story behind that one.

GW: Well, there is. The same guy [Dallas Harms] that wrote “Paper Rosie” and “Cowboy’s Don’t Get Lucky All the Time” for me wrote that song and it’s been an extremely difficult song to follow through with. The recording was a little bit different because of the horns. We had trouble tracking them in studio – we laid down all the tracks at Bradley’s Barn here in Nashville – and when we recorded, we had trouble getting the horn on the track, so what we did was to lay down all the rest of the tracks, even including my vocal. Then, after we sought out the horn player that we wanted to use, we found that we couldn’t use trumpet, it was too brash. By the time we found what we wanted to do, we came back up to Sound Emporium – Jack Clement’s recording studio – and we went in and we put it on. Actually, what that is is a flugelhorn – it’s a little bit more mellow and everything.

PWD: I was wondering about that, it didn’t quite sound like a trumpet to my ear, but I don’t have a classically trained ear.

GW: Yeah, we tried trumpet, but it was too shrill, too brash, and cutting too hard. So we thought on it and looked around and done some research and everything and we wound up using a flugelhorn on it. Of course, you know, I can’t hire a horn player just to travel the road with me just to play one song, so it automatically became a thorn in my side as far as reproduction on stage. So what we did was, at that time I had my steel guitar player get an attachment to put on his steel guitar and we would do that horn part on the steel. It did work pretty good for a while. We had a lot of requests for that song and I appreciate you liking it.

PWD: It’s my favorite, although I must admit I’ve liked everything you have recorded. I remember first hearing, I guess it was around January or February of 1975, a song called “Bad Water” that I don’t think did a whole lot, but the follow-up, which I think was also originally on Resco, was “Love In The Hot Afternoon.” That was a great record and very different from what anyone else was recording at the time.

GW: “Bad Water,” that was a song that was originally out by Ray Charles’ background singers The Raelets. I decided to do it up country and believe it or not, that was the first song I ever had that got in the national charts. That got Capitol Records’ attention and when we re-released “Love In The Hot Afternoon” on Capitol they signed me to a long-term contract and that song turned out to be a giant for the year 1975.

PWD: I remember it well. It seemed to be on the air all the time in the area in which I live, which is Orlando, Florida. And it seemed like it was getting quite a bit of airplay on stations that weren’t country radio stations.

GW: Yeah, it was a good song for me.

PWD: … Do you have any particular favorites among the songs you’ve recorded?

GW: I’ve always had the freedom to pick and choose all of my material myself and it seems like to pick one as a favorite would be like picking one of your kids. .. There’s something about all of them that got my attention that I like. I’m not saying that all of them came out as favorites, but there was, anytime I recorded a song, there was something about it that I appreciated. “Farewell Party” is by far the most requested song that I’ve recorded, but I still like to do “Got No Reason Now For Going Home” and “Paper Rosie” and “Fourteen Carat Mind” and all that.

PWD: I think “Farewell Party” was your first #1, going to the top on Cash Box. If I recall correctly, that was a Lawton Williams song.

GW: Yeah, it was.

PWD: And it seems like years before your record I remembered hearing Little Jimmy Dickens do it.

GW: There were several people that had recorded it. Waylon Jennings, for one. Billy Walker and George Jones recorded it as had a lot of other artists.

PWD: I guess it took your touch to make a hit out of it though.

GW: I guess so. Because it’s sure been a good one for me.

PWD: It has. That and “Fourteen Carat Mind” are songs you still hear country bands performing all the time.

GW: That was a #1 hit in 1982, “Fourteen Carat Mind” was. I’ve been extremely fortunate and I owe all the thanks to the fans out there, and of course you guys who play the music. I try my best to record the best material I can and then it’s up to the folks whether it hits or not.

PWD: Do you have any songs that you recall that were offered to you first that you passed on that later became big hits?

GW: Oh yeah. Oh Lord, I heard “The Gambler” before Kenny Rogers did it. “The Girls All Get Prettier At Closing Time.” There’s been a lot of them, but that doesn’t mean that these songs would have been hits for Gene Watson. I mean they were hits for the people that recorded them, but there are Gene Watson hits and then there are other people’s hits and a lot of times it’d be like another artist recording “Farewell Party.” There were a lot of them before me that didn’t make it. When I recorded it, fortunately for me, it did. That’s kind of the trend that you have to look at when you’re considering material to record. You need to be careful and pick songs that you think are right for you.

PWD: One of the later hits that you had that I really liked, and haven’t been able to find it on CD, was “Don’t Waste It On the Blues.” That was a little different for Gene Watson.

GW: Yeah, it was a little uptown swing thing, almost modern jazz. I love that kind of stuff. I’m a lover of that type of music and it was a great song for me. Best I remember, I think it was a Top Five song.

PWD: …Did you ever have a song that you recorded that you just thought, “This has hit written all over it,” and then it stiffed for some reason or another?

GW: There have been several like that. In fact, I try to have that attitude every time I go in the studio, thinking that I’ve got a hit. You know that a lot of them are more capable of being hits than others, but that happens quite occasionally.

PWD: One that struck me that should have been a big hit that wasn’t, was a song you did titled “Carmen,” which I think was on your first or second Epic album.

GW: Yeah, that was a big song. In fact, that’s still a real big song overseas. When we were in Ireland and England and Scotland, the people over there just love that song and we always get requests for it when we go over there, but the title I think hurt the song a little bit in being confused with the old song of Marty Robbins’ called “Carmen.” Not that his was bad, but it was a hit and every time everybody saw the title they automatically thought that I had covered Marty’s song and that hurt it a whole lot.

PWD: Another Epic song I thought should have been a hit was “Honky Tonk Crazy”, a song local bands here in Florida often cover.

GW: Great song. That was my last album for Epic Records, and yeah, I thought it should have been a hit too. I really did. You can look down in that album and I was extremely proud of that whole album. I think everything in that album was really fantastic. Of course, it was produced by Billy Sherrill. I just thought it was a good album. I thought we should have got more response. I’m not sure we got all the help from Epic Records that we deserved, but for some reason or another, who knows why, it didn’t quite make it as good as we thought it would.

PWD: Were your parents musical people?

GW: My whole family was musical.

PWD: So you grew up listening to country music? Perhaps other forms of music ?

GW: Gospel, country, country gospel, and blues. I used to sing the blues and everything, so yeah, my whole family was musically inclined.

PWD: Who were your favorite artists when you were growing up?

GW: Oh I don’t know, I listened to all of them. Boy, back then they had the Top 10 on Sunday and I loved Lefty Frizzell. I thought he was fantastic, and Webb Pierce, Carl Smith, Faron Young. When Hag come in to play, oh it kind of ruled everything else out.

PWD: I’m not sure I’d agree with you there, but I liked all those names that you mentioned.

GW: Well I don’t mean ruled it out, I’m just talking about the new…I think Merle Haggard was more of an extension of Lefty Frizzell. I always loved Lefty, I loved his smooth approach. I liked the way he recorded things, and Ray Price, what can you say about him? I had a lot of favorites and it would be hard to pick one of them.

PWD: How about among the younger artists?

GW: I think one of the best artists out there is a guy by the name of Joe Diffie. I think he’s one of the finest vocalists that you’re going to find out there. My good friend Joe Nichols is a fantastic artist. There are several of them out there that I really, really admire and I appreciate what they do. There’s more of them out there that I don’t appreciate, but there’s some of them that’s got great talent and they’re for real.

PWD: I remember about a year or two ago you opened a show for Brad Paisley, didn’t you?

GW: Yes.

PWD: That must have been a little different experience with the type of audiences and venues he plays.

GW: My thing is my thing and I do it no matter who I’m working with, or opening for, or closing for or whatever. We never plan a show. I always hit the stage and the band, the only way they know what I’m going to do next is the way I introduce it to the people, and it was fun, it really was. I think the world of Brad. He’s a great artist and it was a real pleasure getting to work with him, but you know we do what we do and he does what he does and we all try to be successful at it.

PWD: … Any plans for perhaps a duet album with one of the leading female singers, say Rhonda or Alison or someone like that? I think that would really come off well.

GW: Well I think that a duet album is a possibility and the most likely duet partner, I would say at this time, would be Rhonda, if she would accept, and I think she would because we’ve both been on the same page as far as that goes and who knows, we might put that together. We’ve both talked about it. [Note: it happened!]

Album Review: Dolly Parton – ‘Blue Smoke’

blue smoke albumI raved about the title track of Dolly Parton’s new album when I first heard it a couple of months ago, and in the time since it has not lost its charms for me. The album is a bit more of a mixed bag in terms of the range of musical styles, but Dolly is still a great singer and songwriter. She sounds enthusiastic and invested throughout, and has written some very good new songs for the project.

‘Miss You – Miss Me’ is an excellent song from the point of view of a child begging her warring and separated parents to reconcile for her sake. A delicately understated arrangement of mandolin, guitar and piano supports Dolly’s vulnerable vocal.

‘Unlikely Angel’ is a sweet love song addressed to someone who has rescued the protagonist from a bad situation. It is very charming, set to a pretty melody with an attractive acoustic arrangement and delicately delivered vocal. The impeccably played and sung ‘If I Had Wings’ has a high lonesome bluegrass feel and a gospel message.

The upbeat and nostalgic ‘Home’, which Dolly wrote with her producer Kent Wells, has a little busier production, as Dolly cosily remembers (a sanitized version of) her childhood, without any mention of the poverty she has written about in earlier (and better) songs. ‘Try’ is an inspirational number which comes across a little too much like a self-help book about overcoming adversity, with intrusive backing vocals, but the intense sincerity of Dolly’s vocals helps to sell it.

Dolly exercises her playful pop-country side with a rebuttal to a potential lover who isn’t in it for the long run, only wanting a temporary ‘Lover Du Jour’. It is wittily written and charmingly performed with Dolly showing off a pretty good French accent, but the poppy production and backing vocals verge on the irritating with repeated listens.

Two duets see Dolly teaming up with fellow veterans. ‘You Can’t Make Old Friends’ is a warm hearted tribute to friendship written by Don Schlitz, Caitlyn Smith and Ryan Hanna King, perfectly sung by both Dolly and Kenny Rogers. The production is fuller than it is on the acoustic numbers, with a string arrangement as well as electric instruments but still tasteful and understated. Another old friend, Willie Nelson helps out on Dolly’s own song ‘From Here To The Moon And Back’, a melodic and tender crooned ballad.

An eclectic selection of covers round out the songlist, with variable results. She has written additional lyrics to the traditional ‘Banks Of the Ohio’ to create a framing narrative with herself as a journalist interviewing the incarcerated killer– an inspired addition to the song. She sings it beautifully, supported by the harmonies of Val Storey and Carl Jackson, the latter also taking the odd solo line. An arrangement featuring acappella sections, Stuart Duncan’s fiddle and John Mock’s harmonica at various points combines with the vocals to make this the highlight of the album and one of my favourite versions of this much-recorded tune.

She makes Bob Dylan’s ‘Don’t think Twice, It’s Alright’ sound like one of her own songs, and it gets a pretty acoustic arrangement. Rather less successful is Dolly’s attempt at rock-gospel with a cover of Bon Jovi’s ‘Lay Your Hands On Me’, where the accompaniment is just too loud and drowns Dolly out, although she makes a decent stab at attacking the song vocally until she gets over-excited and starts shouting at the end.

If you get your copy at Walmart, you get four extra tracks, which are generally weaker than those that made the cut for the main release. There is a remake of her ‘Early Morning Breeze’, plus three new songs: the idealistic and inclusive ‘Olive Branch’, the poppy upbeat ‘Get Up, Get Out, Get On’ which I didn’t like, and the Celtic-tinged ‘Angels In The Midst’.

Grade: A

Album Review: Ray Price – ‘Beauty Is … The Final Sessions’

Ray PriceRay Price’s swan song was recorded last year while the legendary singer was battling pancreatic cancer. Beauty Is … The Final Sessions is a combination of countrypolitan and traditional pop, in the style for which Price was known in the 1970s when he scored such hits as “For The Good Times”, “I Won’t Mention It Again”, and “You’re The Best Thing That Ever Happened To Me”.

Released on the independent Amerimonte label, Beauty Is contains a number of names among its credits that will be familiar to long-time country fans, from Fred Foster, who produced the project, and Bergen White who conducted the orchestra to Vince Gill and Martina McBride who lend some vocal support. “Beauty Is In The Eyes of The Beholder” was written by Jon Gray and Rich Grissom, and went unrecorded for nearly twenty years, having been rejected by a number of marquee names such as Garth Brooks, Reba McEntire, John Michael Montgomery, and Whitney Houston. Kenny Rogers apparently recorded it but that version was never released. The lovely string-laden ballad is the first of two tunes featuring harmony vocals by Vince Gill; the second is a very nice version of the Cindy Walker-penned “Until Then”, which is the best song on the album. Willie Nelson’s “It Always Will Be” is a close second, although the background vocals on this track are a little too saccharine for my liking.

Ray Price began his recording career in 1948 as a honky-tonk singer and was later derided as a pop sell-out when he embraced the countrypolitan sound that was in vogue in the early 70s. There are no hardcore country songs on Beauty Is, but there are a few very nice traditional pop numbers including “I Believe”, “Among My Souvenirs”, and “An Affair To Remember”, which is performed as a duet with Martina McBride.

Beauty Is may be a bit too mellow for some tastes, and it might have benefited from an uptempo number or two, but Price knew who his core audience was and wisely avoided chasing more contemporary trends. Although his voice lacked the range of his heyday, it was in remarkably good condition and it is difficult to remember that Price was an 87-year-old man in failing health at the time these recordings were made. It doesn’t contain any stretches or surprises, but it is a very fitting capstone to a career that spanned more than six decades and a gift that Ray Price fans are sure to treasure.

Grade: B+

Spotlight Artist: Holly Dunn

Holly DunnSan Antonio, Texas native Holly Dunn was born on August 22, 1957. In high school, she was part of a musical group known as the Freedom Folk and was later a part of Abilene Christian University’s touring choir. After graduating for Abilene, she joined her brother, who is known professionally as Chris Waters, as a songwriter in Nashville. One of their biggest successes came in 1984 when Louise Mandrell scored a Top 10 hit with their composition “I’m Not Through Loving You Yet”, a co-write with Tom Shapiro, with whom they would pen many more songs in the future.

During this time, Holly had also been working as a demo singer and in 1985 she was signed to a recording contract by the fledgling MTM label. Her first two singles “Playing For Keeps” and “My Heart Holds On” reached the lower rungs of the Billboard country singles chart. Her third release , 1986’s “Two Too Many” cracked the Top 40 and she struck paydirt with her fourth single, a song called “Daddy’s Hands”, written as a tribute to her father, which climbed all the way to #7 and became her career record. Her records consistently reached the Top 10 through the end of the 1980s.

At MTM, Holly was a big fish in a small pond. The label was unable to compete with its much larger competitors and it folded in 1989. Around the same time, Kenny Rogers asked her to record a duet for his upcoming album, and Holly was invited to join the roster of Rogers’ label, Warner Bros. At Warner Bros., her career seemed to be off to a solid start. Her first solo release for the label, “Are You Ever Gonna Love Me”, became her first #1 hit in 1989. She scored another #1 the following year with “You Really Had Me Going”. In 1991, Warner Bros. released a greatest hits package called Milestones, which contained her hits for the label as well as some earlier material from her MTM years. She found herself at the center of an unwanted controversy when some women’s groups made the charge that album’s new track “Maybe I Mean Yes” advocated date rape. Hoping to end the controversy, Dunn and Warner Bros. quickly withdrew the single from radio, but Holly’s career never really recovered. She remained on the Warner Bros. roster until 1993 but never scored another hit for the label. Two subsequent albums for River North Records failed to revive her recording career.

When her hitmaking days came to an end, Holly served a stint as a DJ for a Detroit radio station and later became a host of TNN’s Opry Backstage. She retired from the music business in 2003 and returned to Texas, where she turned her attention to another artistic passion — painting, following in her mother’s footsteps.

Though Holly’s reign at the top of the charts was relatively brief, she was a regular staple at country radio during the mid-to-late 1980s and scored a number of hits that are fondly remembered today. We hope you’ll enjoy our look back at her career during the month of March.

Predictions for the 54th Annual Grammy Awards

1015599-grammy-award-617-409The most significant aspect of the 54th annual Grammy Awards (airing Sunday night on CBS) is who isn’t nominated. Those looking for bro-country kingpins Florida Georgia Line and Luke Bryan among the nominees are out of luck. “Cruise” was easily a contender in many categories, but thankfully was completely shut out. Instead we’re left with country nominees that still hold strong allegiances to mainstream country music, but aren’t a celebratory party for the dreck Music Row has been spitting out for years now.

Country Nominations

American Roots Nominations

Here are my predictions for Sunday’s big night:

Best Country Solo Performance

528c0c3f7cdadGiven what was popular in mainstream country in 2013, this is a spectacularly solid list of recordings that received airplay but didn’t embarrass the history of the genre. What’s surprising is the category’s diversity; only Miranda Lambert has won previously, while category heavyweights Taylor Swift, Carrie Underwood, Brad Paisley, and Keith Urban were shut out. It’s just too bad Kacey Musgraves, who has four other nominations, wasn’t included here as well for “Merry Go Round,” the best mainstream single of the eligibility period.

Should Win: “I Drive Your Truck” – Lee Brice gives an incredibly heartfelt vocal and proves he can pull off as close to a traditional ballad as country radio would play in 2013 

Will Win: “I Drive Your Truck” – The force of this song will propel it to victory

Make A Case For: “Mine Would Be You” – There’s been a lot of chatter that Blake Shelton is the only coach on The Voice who’s yet to win a Grammy Award. That’ll definitely change this year and I hope it does here, allowing a far more deserving nominee to pick up Best Country Album.

Best Country Duo/Group Performance 

2009-10-27-kenny-dolly-duet-fullThe Grammys were criticized in the 2000s for veering too far away from mainstream country and thus seeming out of touch with what was popular. They’ve since gone to extremes in the other direction, but it’s nice to see The Recording Academy hasn’t lost their artistic touch completely, as the solid nominees in this category prove.

Should Win: “You Can’t Make Old Friends” – thirty years after the pair was nominated (and lost) in this same category for “Islands In The Stream,” Kenny Rogers and Dolly Parton show up again with their second duet in as many years. The indelible magic is still there, even if the tempo has slowed with time.

Will Win: “Highway Don’t Care” – The Recording Academy loves Tim McGraw, Taylor Swift, and Keith Urban separately, the trio has 14 Grammys between them, and so collaboration between them will likely be too difficult for voters to resist.

Best Country Song

Merry_go_'roundIt says a lot about the overall quality of writing on Music Row these days when four of the nominees in this category show up twice among these five nominees. But it speaks volumes that half of Kacey Musgraves’ four nominations are found here, proving she’s more then just your average recording artist.

Should Win: “Merry Go Round” – I’d been waiting for just such a song for years and Musgraves, Shane McAnally, and Josh Osborne didn’t disappoint with their fantastic ode to suffocating small town life.

Will Win: “I Drive Your Truck” – the poignancy of this true story about a dad, the son who died in war, and the truck he left behind was too much for the CMA to ignore, and the same will prove true of the Recording Academy.

Best Country Album

UnknownThis is the weakest field of nominees in any of the country categories by a mile. The fare here is far too mainstream, clichéd, and sound-alike. I genuinely feel for those who’ll use this list as a benchmark of excellence for country music in 2013. Without the likes of Ashley Monroe among the nominees, that just isn’t fair.

Should Win: Same Trailer Different Park – given Musgraves’ competition, this shouldn’t even be a close call. She’s in a class of her own that the likes of McGraw, Shelton, and Jason Aldean couldn’t ascend to on their best day.

Will Win: Red – it’s general logic: if you’re nominated for Album of The Year, you usually take home your genre prize as a consolation or in some cases you win both. It isn’t always true, in which case Based On A True Story will take this, but it happens more often then not.

Best Americana Album

8fb2d908A solid list, although I expected to see Jason Isbell nominated here for Southeastern given the media blitz the CD was given. If he had been included, I would’ve been rooting for his win. Isbell’s album is just that good.

Should Win: Old Yellow Moon – Emmylou Harris is a Grammy Favorite and has released her strongest collection in years. That it’s also a duets project with Rodney Crowell more than forty years in the making only makes it sweeter.  

Will Win: One True Vine – Mavis Staples has won similar categories in the past few years and remains a Grammy favorite. I don’t see a reason to bet against her here.

Best Bluegrass Album 

0011661914124Without an eligible album in the running from Alison Krauss, the category is left without a ‘celebrity’ name to carry a win. Alan Jackson’s bluegrass project made the eligibility cut by a week, but was likely too new (despite the availability of advanced copies) to score a nomination.

Should Win: Streets of Baltimore

Will Win: Brothers of the Highway

Best New Artist 

imagesAn odd list, given that Lorde was left off while James Blake and Ed Sheeran were included despite not being new. Name recognition, and a plump spot on Taylor Swift’s tour, could propel Sheeran to the podium but he faces tough competition from Macklemore and Ryan Lewis, who had a breakout year.

Should Win: Kacey Musgraves – I have to stick with country music on this one. Of these nominees she’s the most well rounded mixing country with folk sensibilities in all the best ways. Plus, can any of the other acts claim half their nominations were for songwriting?

Will Win: Macklemore and Ryan Lewis – easily the most talked about duo in popular music in all of 2013. They may’ve hit it big with “Thrift Shop,” but their martial equality anthem “Same Love” showed their true artistry. Look for that to give them the edge over their competition.