My Kind of Country

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

Tag Archives: Larry Keith

Album Review: Kenny Rogers – ‘Daytime Friends’

Released in July 1977, Daytime Friends was Kenny’s third album as a solo act, and his second album to go platinum. For the most part, this starts out as a solid country album with such stalwarts as Billy Sanford, Dave Kirby, Jerry Shook, Jimmy Capps, Jim Colvard, Johnny Christopher, Larry Keith and Reggie Young on guitar; Pete Drake on pedal steel guitar; Bob Moore, Joe Osborn and Tommy Allsup on bass; and Pig Robbins on piano to help keep things country for the first half of the album. The album would reach #2 on Billboard’s Country Album chart and crack the top forty on the all genres album chart. I suspect that Kenny’s actual position on the all genres chart would have been much better had Sound Scan been around.

I remember Kenny from his days with the First Edition (they even had a television show) and while Kenny’s first few country singles had a strong country feel, I always felt that he would drift into being a lounge, pop or pop-country balladeer. Unfortunately, I was correct and his output became less country as he went along. After 1979’s “You Decorated My Life”, it would be a long time before I really cared about any of Kenny’s recordings.

The opening track was the title track, written by Ben “Kiss An Angel Good Morning” Peters, and the first single released on the album, giving Kenny his second #1 country single. This song is a modern take on an ancient theme:

And he’ll tell her he’s working late again
But she knows too well there’s something going on
She’s been neglected, and she needs a friend
So her trembling fingers dial the telephone

Lord, it hurts her doing this again
He’s the best friend that her husband ever knew
When she’s lonely, he’s more than just a friend
He’s the one she longs to give her body to

Daytime friends and nighttime lovers
Hoping no one else discovers
Where they go, what they do, in their secret hideaway
Daytime friends and nighttime lovers
They don’t want to hurt the others
So they love in the nighttime
And shake hands in the light of day

Next up was a rather lame take on the Glenn Frey-Don Henley composition. I’ve heard many better versions, including Johnny Rodriguez’s #5 country single from earlier in 1977. I’ve always thought of this as a song about desolation and was disappointed that Kenny’s producers gave this a cocktail lounge arrangement. Kenny sings the song well, and with a little more muscular arrangement I would have really liked this song

Desperado, why don’t you come to your senses,
Come down from your fences- open the gates.
It may be rainin, but there’s a rainbow above you.
You’d better let somebody love you,
LET SOMEBODY LOVE YOU.
You’d better let somebody love you,
before it’s too late.

Kenny O’Dell is probably best remembered as the composer of the Charlie Rich smash “Behind Closed Doors”, but “Rock and Roll Man” is a respectable effort as well. A mid-tempo ballad with some pop trappings, Kenny handles the vocals well.

“Lying Again” was written by respected Nashville producer/songwriters Chips Moman and Larry Butler. Kenny does a nice job with this song about cheating, misgivings and regrets.

“I’ll Just Write My Music and Sing My Songs” fits within the context of the album, but is nothing more than a passable album track.

“My World Begins and Ends With You” would be a #4 hit in 1979 for Dave & Sugar [Dave Rowland, Sue Powell, Vickie Baker]. Kenny handles this love song well but I actually prefer the Dave & Sugar version.

My world was no more than a dream
And waitin’ on a dream can sure get lonely
Your love just fell right into place
And filled and empty space to overflowing, overflowing

My world begins with havin’ a friend when I’m feeling blue
My world would end if ever I heard you say we were through
Just don’t know what I’d do
‘Cause my world begins and ends with you

Kenny wrote “Sweet Music Man”, the second single released from the album. Rather surprisingly, the single stalled out at #9 on the US country charts, while reaching #1 on the Canadian country and adult contemporary charts:

But nobody sings a love song quite like you do
and nobody else could make me sing along
and nobody else could make me feel
that things are right when I know they’re wrong
( that things are right when you’re wrong with the song )
nobody sings a love song quite like you.

Larry Keith’s “Am I Too Late” points the pop/schlock direction Kenny’s music would take. The song is drenched in strings and has a very cocktail lounge feel to it. In fact the last four songs all lean a pop direction (“We Don’t Make Love Anymore”, “Ghost of Another Man” and “Let Me Sing For You”), although “Let Me Sing For You”, written by Casey Kelly and Julie Dodier has an interesting lyric and rather gentle folk-pop arrangement:

One bright, sunny day I set on my way to look for a place on this Earth.
My life was a song just 3 minutes long. And, that’s about all it was worth.
I wandered around. Unlost and unfound, unnoticed and misunderstood.
Each thing that I tried just lessened my pride. Guess I didn’t do very good.
Then I saw you lookin’ just like I felt. So, I walked up to you and I said.

Let me sing for you.
It’s not much to ask after all I’ve been through.
Let me sing for you.
At least there’s still one thing I know that I know how to do.

I found you alone, no love of your own. I gave you a shiny new toy.
I made you feel good as best as I could. And, I was your rainy-day boy.
I held you so near. But, you held this fear. And, felt like you’d been there before.
The spell that was cast was too good to last. Soon the toy wasn’t new any more.
So, I asked for some time. And, you gave me a watch.
If it’s that late already again….

Let me sing for you.
It’s not much to ask after all we’ve been through.
Let me sing for you.
At least there’s still one thing I know that I know how to do.

It is tough for me to evaluate this album. I liked, in varying degrees, the first seven songs, but by the time I got to “Am I Too Late” I was getting bored with the album. The tempos tend to be rather similar throughout, and the last songs on the album tend to be more pop, less country and, other than the last song, less interesting. I would give this album a B, but it is a very uneven B as far as I am concerned.

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Album Review: Janie Fricke and Johnny Duncan – ‘Nice ‘n Easy’

Nice ‘n’ Easy was released in October 1980, in response to significant demand for an album that collected the earlier Johnny Duncan recordings that prominently featured Janie Fricke, whether or not Janie was actually credited on the original recordings. It also served as a true duets album.

The album actually falls neatly into two categories: (1) new recordings made in order to have enough tracks to complete an album and give customers who already had the earlier tracks a reason to purchase this album, and (2) the earlier hit singles. The new recordings are on side one of the album, with the older tracks being on side two.

Billy Sherrill was the producer of the album. While albums of this era often did not provide musician credits, the album cover notes tell us that on side one the background singers were Lea Jane Berinati, Jackie Cusic, Larry Keith and Steve Pippin whereas on side two the Nashville Edition provided the background harmonies.

Side one opens with “He’s Out of My Life”, a song written by Tom Bahler. Pop artist Michael Jackson recorded the song on his 1979 album Off The Wall and released it as a top ten pop single. The original title was “She’s Out of My Life”, retitled for duet purposes with Duncan and Fricke swapping verses but most of the song told from the male perspective. I think it is a bit of an overwrought ballad (Bahler wrote it after breaking up with his girl friend) but it works. The song was a #20 country hit for Johnny & Janie in 1980.

He’s out of my life
He’s out of my life

And I don’t know whether to laugh or cry
I don’t know whether to live or die
And it cuts like a knife
He’s out of my life

It’s out of my hands
It’s out of my hands

To think the two years he was here
And I took him for granted, I was so cavalier
Now the way that it stands
He’s out of my hands

Track two is the title cut “Nice ‘n’ Easy” written by Alan Bergman, Marilyn Keith and Lew Spence. The song is best known for Frank Sinatra’s 1960 recording. The Sinatra album Nice ‘n’ Easy was nominated for a Grammy in 1960 and Frank took the title track onto the pop charts that year. Charlie Rich had a minor pop hit with it in 1964, and in later years country radio sometimes played the track (or a later 1970 Epic re-recording of it). It would be blasphemy to suggest that any of the covers were better than Sinatra’s recording (they weren’t) although Rich’s recording was nearly as good.

Let’s take it nice and easy
It’s gonna be so easy
For us to fall in love

Hey baby what’s your hurry
Relax and don’t you worry
We’re gonna fall in love

We’re on the road to romance – that’s safe to say
But let’s make all the stops along the way

The problem now of course is
To simply hold your horses
To rush would be a crime
‘Cause nice and easy does it every time.

Paul Anka is often thought of as a late50s-early 60s teen idol, but he was much more than that, providing a number of classic songs to other artists such as “My Way” to Frank Sinatra and “Guess It Doesn’t Matter Anymore” to Buddy Holly. “(I Believe) There’s Nothing Stronger Than Our Love” is a song that Paul kept this song for himself, recording it as a solo (#15 pop / #3 AC) in 1975 and later as a duet with Odia Coates. It works fine as a duet.

I believe there is nothing stronger than our love
I believe there is nothing stronger than our love
When I’m with you Baby
All my worries disappear

Troubles that surround me
Disappear when you are near
When you need my loving
I’ll be there

“Baby (You’ve Got What It Takes)” is a 1960 song written by Clyde Otis, Murray Stein and Brook Benton. It was originally recorded as a duet by Dinah Washington and Brook Benton, and reached #5 pop / #1 R&B. Later recordings include Jerry Lee Lewis & Linda Gail Lewis, Charlie Louvin & Melba Montgomery, Michael Buble (with Sharon Jones & The Dap Kings) and Kevin Mahogany. Obviously it works as a duet, and it works for Duncan and Fricke, although they do not bring the soulfulness to the song that Dinah & Brook achieved, nor the excitement of the Jerry Lee & Linda Gail recording. By the way, if you are unfamiliar with Brook Benton and/or Dinah Washington, you really should check them out.

“Loving Arms” was written by Tom Jans and is a ballad of longing and loneliness that has been recorded many times, initially by Dobie Gray, then Elvis and many times since then including the great Etta James and acts such as the Dixie Chicks. To my knowledge no one has ever had a big hit with the song.

If you could see me now
The one who said that he’d rather roam
The one who said he’d rather be alone
If you could only see me now

If I could hold you now
Just for a moment if I could really make you mine
Just for a while turn back the hands of time
If I could only hold you now

I’ve been too long in the wind, too long in the rain
Taking any comfort that I can
Looking back and longing for the freedom of my chains
And lying in your loving arms again

This concludes side one of the album. You will note that none of these songs were initially country songs, although all were songs of a good pedigree. By 1980, for better or worse, the ‘Nashville Sound’ era had passed and none of the songs featured string arrangements. The production could best be described as pop-country with steel guitar used mostly as background shading.

Side two collects the Johnny Duncan hits that featured Janie Fricke. Since these songs have already been discussed earlier I will simply touch them lightly.

“Come A Little Bit Closer” was a cover of a Jay & The Americans hit that Johnny and Janie took to #4 in 1977. This song was billed to both of them.

“It Couldn’t Have Been Any Better” went to #1 for Johnny in 1977, his second #1. The string arrangements on this recording are by Bill McElhiney.

“Atlanta Georgia Stray” was not released as a single for Johnny Duncan. It appears on Johnny’s 1977 album Johnny Duncan.

The song was recorded by Kenny Price for RCA in 1969 and made the country charts. I was living in England in 1969, but when I returned to the USA in 1970, I recall the song receiving some airplay as an oldie. I really liked Kenny’s version, but Fricke and Duncan do a reasonable job with the song. Bergan White does the string arrangements

On the Greyhound bus trip home I was feelin’ all alone
When a long haired gal sat down next to me
She said she was Atlanta bound, kill some time, maybe kick around
Cause it sounded like a friendly place to be

From Chicago to Kentucky we just talked awhile
And somewhere in between I was captured by her smile
But why I left the bus in Nashville has been a mystery till today
Cause for two years I’ve been tracking down that Atlanta Georgia stray

“Thinkin’of A Rendezvous” was Johnny’s first #1 county hit in 1976. Bergan White did the string arrangements.

“Stranger”,also from 1976, was Johnny’s second top ten hit reaching #4 country.

I do not mean to downplay Janie Fricke’s contributions to the songs on side two, but they were released as Johnny Duncan records and Janie’s role was less prominent on some of them than on some of the others.

In retrospect, most of our readers will think that the success of these recordings was due to Janie Fricke, since Johnny Duncan dropped out of the music scene for family reasons during the 1980s and then died too young in 2006. He had a significant career and some big hits that did not feature Janie Fricke, including several of my favorites.

Janie, of course, went on to have a brilliant career and is still active today

This album has never been released on CD. The hit singles are available on several Johnny Duncan CDs and possibly some various artist collections. As best as I can tell, the tracks from side one are not available anywhere.

Johnny Duncan and Janie Fricke were both very polished performers and I think most listeners would find the tracks on side one very interesting indeed. This is a well produced album that I would give a B+