My Kind of Country

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

Tag Archives: Lloyd Green

Album Review: Crystal Gayle – ‘Somebody Loves You’

51jizvcqjml-_ss500After several years of struggling, Crystal Gayle finally enjoyed her breakthrough Top 10 hit with 1974’s “Wrong Road Again”. The two subsequent singles from her debut album both failed build on that success, however, which must have been cause for concern at the time. She rebounded nicely, however, with her sophomore album, which was released in 1975. “Somebody Loves You”, one of three tracks penned by producer Allen Reynolds, reached #8. The album’s second single, “I’ll Get Over You”, the first of several hits written for her by Richard Leigh, became her first chart-topper in early 1976. The simple melody and lyric, beautifully sung, has always been one of my favorites.

Somebody Loves You followed the same basic formula as Crystal’s prior album — more polished than the music that hardcore traditionalists like big sister Loretta were putting out — but still quite country in comparison to Crystal’s later work. Allen Reynolds’ songs are among the best in the collection: the traditional-leaning “Before I’m Over You” and the oft-recorded “Dreaming My Dreams With You” which was made famous by Waylon Jennings. Crystal branches out a bit with the bluesy “Sweet Baby On My Mind”, which sounds very similar to “Night Life”, a 1963 hit for Ray Price penned by Willie Nelson. “I Want To Lose Me In You” by Jim Rushing and Marshall Chapman is a pretty but lyrically light number. The same could be said about “High Time”, which is little more than catchy album filler, but Lloyd Green’s steel guitar gives it a little extra oomph. Crystal and her husband Bill Gatzimos wrote one track for the album, the pleasant but forgettable “Coming Closer”.

Somebody Loves You was an important album in Crystal Gayle’s discography. It finally set her on track for consistent commercial success; during the next decade only two of her singles missed the Top 10. The album is also notable for some of its session personnel: the aforementioned steel guitar great Lloyd Green and background vocalists Janie Fricke, who would go on to have a successful solo career of her own, and Garth Funds, who later became a famous producer for Keith Whitley and Trisha Yearwood, among others.

This is a good album for those who are interested in hearing Crystal’s music before she started enjoying crossover success.

Grade: A

Album Review: Gene Watson – ‘Because You Believed In Me’

becauseyouBecause You Believed In Me was Gene’s second major label album, following on the heels of his successful major label debut Love in the Hot Afternoon. While there weren’t any blockbuster hits on the album, the album was the affirmation of the arrival of a superior vocalist with staying power

“Because You Believed In Me” was a song that originally appeared on Gene’s 1969 debut album on the World Wide label. The original recording was good, but Gene had developed as a vocalist in the ensuing five years. Written by the legendary A.L. ‘Doodle’ Owens, this song was a straightforward ballad which reached #20 as a single.

I would have picked “If I’m A Fool For Leaving (I’d Be Twice The Fool To Stay)” for release as a single. Written by Skip Graves and Little Jimmy Dickens, the song showcases the fiddle of Buddy Spicher and the steel guitar of Lloyd Green to good effect, coupled with a superb vocal. This track is my favorite track on the album but, of course, I like my country music a little more country than most.

This morning I am leaving, I’ve been up all night long
You’re right I’m tired of waiting for you to come home
I’ve begged and tried to change you but you’ve grown worse each day
If I’m a fool for leaving I’d be twice the fool to stay

Larry Gatlin penned and had a minor hit in 1974 with “Bitter They Are, Harder They Fall”, a great song that was also recorded by the likes of Elvis Presley, Anne Murray and Dottie West and various others. This is the best rendition of the song, bar none, although I would have preferred that they not used a fade-out ending for the song.

“My World Left Town” is a fairly typical my-girl-left-me song written by Tom Ghent and R. Paul, that in the hands of a typical artist would be nothing special. With a nice fiddle and steel arrangement and Gene’s vocals, the song is elevated beyond that. It’s not an immortal classic, but the song reaches its full potential with this recording.

Roger Miller penned “Sorry Willie” and while it is sometimes thought to be about Willie Nelson (and Roger & Willie recorded the song on their Old Friends album), I don’t think Roger would ever have visualized Willie Nelson as the loser portrayed in this song. The song is a slow ballad with the piano of Hargis ‘Pig’ Robbins being a highlight of the arrangement.


See her dancing see there Willie see how reckless she is
She’s a wild one as everyone knows
Why what’s wrong Willie why you’re cryin’ what have I done
Sorry Willie I didn’t know you didn’t know

And I wouldn’t have said all those things that I’d known
That she was your darling your sweetheart your own
Don’t ask how well I know her I might lie I don’t know
Sorry Willie I didn’t know you didn’t know

Canadian Ray Griff was a prominent singer-songwriter of the late 1960s – mid 1970s. Although he had some mostly mid-chart success as a vocalist on the American Country charts (he was a far bigger star in his native Canada with 41 chart records), his U.S. success came in the form of the hits that he wrote for others such as Faron Young, George Hamilton IV and Jerry Lee Lewis. Gene rounded up four of Ray’s songs for this album. “How Good A Bad Woman Feels” would have made a good single.

I’d forgotten how good a real passion can be
In a honky tonk girl’s warm embrace
I’d forgotten the sound of a woman’s soft sigh
And that how-did-you look on her face

Griff’s “Her Body Couldn’t Keep You (Off My Mind)” was the second single released from this album. It stalled at #52, but perhaps Capitol learned something from the relative failure of this song because the next twelve singles all made the top twenty (mostly) the top ten. I not sure what it was they learned because I though this was a pretty good song.


I could call her up again tonight
And chances are she’ll see me
She’d be ready like she was the other time
She was willing with her warm red lips
And she kept nothing from me
But her body couldn’t keep you off my mind

Her body couldn’t drive my love for you out of my sight
Her kisses weren’t enough to make me wanna spend the night
It’s been two long years since I came home
And found your goodbye letter
Still I can’t get over what you left behind
I tried turning to a woman who was burning up with passion
But her body couldn’t keep you off my mind

Hank Cochran was the writer on “When You Turned Loose (I Fell Apart) “, a slow ballad that to me is just another good Hank Cochran song made better by Gene’s vocals.

Yes I’m down and might be here forever
I could get up but I don’t have the heart
‘Cause you’re all that held me together
And when you turn loose I fell apart

And baby I can’t get me back together
‘Cause without you I don’t even want to start
‘Cause you’re all that held me together
And when you turn loose I fell apart

A pair of Ray Griff compositions, “Hey Louella” and “Then You Came Along” close out the album.
“Hey Louella” is an up-tempo number with a Cajun feel to it. It’s fun but it’s a song that any half decent singer could have sung and doesn’t really give Gene a chance to demonstrate his vocal prowess. “Then You Came Along” is a nice jog-along ballad of the kind that Gene always performs well.

Gene would go on to bigger and better things, but this album maintained the momentum from his major label debut album. Although I’ve pointed out their contribution in conjunction with specific songs, the contributions of Buddy Spicher, Lloyd Green and Pig Robbins to the overall sound of the recording cannot be overstated. There are vestiges of the ‘Nashville Sound’ production (strings and choruses) but those are kept to a minimum and are unobtrusive. Capitol released this album in May 1976. Currently it is available on CD paired with Beautiful Country, an album that will be reviewed next.

Grade: A

Album Review – The Byrds – ‘Sweetheart of the Rodeo’

TheByrdsSweetheartoftheRodeo

For more background on Sweetheart of The Rodeo, including insights into the recording sessions, click here

Just as Chris Hillman was enrolling at UCLA, he got a call from his old manager Jim Dickson to join a new band as their Bass Guitar player. The Byrds as they came to be known consisted of Roger McGuinn, David Crosby, Gene Clark, Michael Clarke, and Hillman. He’d never picked up a bass guitar before, but his bluegrass background led him to quickly master it while developing his own style with the instrument.

Although he remained quiet on the bands first two releases, he quickly rose to the forefront, and he blossomed as a singer and vocalist after Clark left the band. By 1968, the band was down to just Hillman and McGuinn after Crosby bid his farewell. To replace him they hired Gram Parsons, who along with Hillman changed the sound of the band to reflect a country rock style, which was unheard of in the music industry at the time. This revolution was captured on The Byrds’ Sweetheart of The Rodeo, which was released on August 30, 1968.

The album found Hillman playing a supporting role yet again, as Parsons and McGuinn shared the brunt of the vocal duties. Parsons, who was little known at the time, was brought to the forefront of mainstream rock because of this album.

Sweetheart of the Rodeo was originally supposed to be a reflection of American popular music incorporating elements of Jazz and R&B but Parsons steered the project into a pure country album instead. This move was highly controversial, as Nashville had little interest in embracing a band they thought of as longhaired hippies attempting to sabotage country music. In the mists of all the hoopla, Parsons left the band, and wasn’t even a member when the August release date came around.

A cover of Bob Dylan’s “You Ain’t Going Nowhere” was released in April as the project’s lead single. The band heard the tune on a collection of Dylan’s Woodstock demos and thought it appropriate for them to cover. The mid-tempo ballad features an assist from Lloyd Green on Pedal Steel and came more than three years before Dylan would commercially release the track himself. It peaked at #74 on the Billboard Hot 100 Chart.

Hillman and McGuinn arranged the second and finale single “I Am A Pilgrim,” which failed to chart. The folk song is a bit more country sounding than the Dylan cover thanks to McGuinn’s banjo and some lovely fiddle playing by John Hartford.

Even more famous than the two singles is Parsons’ “Hickory Wind,” a fiddle and steel ballad he co-wrote with Bob Buchanan on a train ride from Florida to Los Angeles. The song is marred in controversy, from claims it wasn’t Parsons but a blind folksinger named Sylvia Sammons who wrote it, to being the tune that got them banned from The Grand Ole Opry. As the story goes, Parsons sang it instead of their planned Merle Haggard cover of “Life In Prison” and thus ticked off the country music establishment and sent shockwaves through the audience. Nonetheless “Hickory Wind” is an excellent song that still endures today.

Parsons also wrote “One Hundred Years from Now,” a tune in which McGuinn and Hillman shared lead vocals and Green once again contributed pedal steel. It’s another excellent song and I love the production on it, too, thanks in a large part to Green’s beautiful flourishes of steel.

The remainder of Sweetheart of the Rodeo consisted of cover songs. The band revived soul singer William Bell’s debut single “You Don’t Miss Your Water,” which had only been released five years earlier. The band’s version is similar to Bell’s although they take out the horns in favor of steel guitar performed by JayDee Maness.

Songs by The Louvin Brothers and Cindy Walker also appear. Charlie and Ira’s “The Christian Life” doesn’t differ much in The Byrds’ hands, but they manage to turn it into a honky-tonk stunner (with a wonderful lead vocal by McGuinn) and one of the album’s more twang-centric songs. Walker’s “Blue Canadian Rockies” is in similar vain and one of my favorite of this albums’ numbers thanks to the twangy guitar and Hillman’s wonderful lead vocal.

The aforementioned Haggard (and Jelly Sanders) song “Life In Prison” appears here, too. It’s stunning through and through from Manass’ steel guitar to Parsons’ lead vocal. He finds a way to channel Haggard while still making the song his own.

I also adore their version of Woody Guthrie’s “Pretty Boy Floyd,” a folk song about the titular bank robber. The band dresses it up with Hartford’s otherwordly banjo riffs and Hillman’s gorgeous mandolin picking. McGuinn also has a natural knack for storytelling that serves him well as he shoulders the lead vocal duties.

Luke Daniels’ “You’re Still On My Mind” is another Parsons fronted number featuring Maness on steel guitar. The results are glorious as the sunny steel is ear candy for the listener. The album closes with a final Dylan cover, “Nothing Was Delivered.” McGuinn takes the lead and with Green on pedal steel, the results are wonderful.

Full disclosure – before writing this review I’d never listened to an album by The Byrds, Chris Hillman, or Gram Parsons (although I do own Grievous Angel on vinyl). And as a formal introduction it doesn’t get much better than Sweetheart of the Rodeo. The album is a classic in every sense of the word and a pure delight to listen to forty-six years later. I had an idea what to expect when I went in to listen, but I had no idea what a fabulous steel guitar record this would turn out to be. Lloyd Green and JayDee Maness are masters of their craft and just a pure joy to listen to. If you don’t own your own copy of this album I suggest you run out and buy one as Sweetheart of The Rodeo is a must own for any fan of country or roots music.

Grade: A+

Album Review: Amber Digby – ‘The World You’re Living In’

amberdigbyIndependent artist Amber Digby is back with a new collection of tunes, which  like most of her earlier work, consists mainly of covers of classic country tunes.  This time around, however, she’s included some more contemporary fare along with some remakes of old classics and some lesser-known older songs.

The album opens with a reverent rendition of Norma Jean’s “It’s a Long Way From Heaven (To The World You’re Living In)” , which is pedal steel-drenched track in the vein that we’ve come to expect from Amber.  I’m not familiar with the Norma Jean version, but I like Amber’s take on the song very much.   Additionally, there are the expected covers of songs made famous by Connie Smith, Tammy Wynette, and Loretta Lynn.   She pays homage to Smith with the Dallas Frazier-penned “If It Ain’t Love (Let’s Leave It Alone)”  Nobody can sing it like Connie Smith, but the song is well worth resurrecting and introducing to a new audience.    “We Loved It Away”, which Amber sings with Randy Lindley, is one of my all-time favorite George Jones and Tammy Wynette numbers.  “The One I Can’t Live Without” was previously recorded by  Conway Twitty and Loretta Lynn.  Vince Gill is Amber’s duet partner on this one.

Aside from the usual Smith, Wynette and Lynn tunes, Amber steps outside the box a little and covers some less traditional artists such as Lynn Anderson (“How Can I Unlove You”) and Outlaws such as Johnny Paycheck (“It Won’t Be Long and I’ll Be Hating You”).

As far as more contemporary numbers are concerned, Amber does a very nice cover of Vince Gill’s “One More Thing I Wish I’d Said”, from Gill’s recent Guitar Slinger.  My digital copy of the album from CD Baby came without liner notes, but “You Leave Again” and “She’d Already Won Your Heart” sound like newer songs, and “Saturday Night” with its references to cell phones and emails was definitely written recently, though it sounds like a vintage tune.

None of these tunes will ever be heard on mainstream country radio but all are worthwhile efforts that will be appreciated by anyone who enjoys traditional country music.  Legendary musicians such as Lloyd Green, Dicky Overbey and Jim Loessberg on steel guitar, Pete Wade on electric guitar, and Harold “Pig” Robbins help make these songs sound true to their era, as opposed to contemporary reinterpretations.  There is nothing to not to like here.  If you miss the way country music used to be, you need this album in your collection. It can be purchased from Amber’s website, Amazon, or CD Baby.

Grade: A

Country Heritage Redux: Johnny Paycheck

A version of this article originally appeared on the now defunct 9513 weblog. Because the series in which it appeared was titled ‘Forgotten Artists’, I referred to the subject of the article as either Donald Lytle (his real name) or Donnie Young (his original sobriquet) so that I could get into his background without giving away his more famous sobriquet, that of Johnny Paycheck. Thanks to one monster song, “Take This Job And Shove It”, Johnny Paycheck’s name will be remembered for a long time; however, that song was hardly typical of the artistry of Johnny Paycheck. For this article we will refer to him as Johnny Paycheck.

Very few artists have been as successful at reinventing themselves as Johnny Paycheck (May 31, 1938-February 19, 2003). Born Donald Eugene Lytle, and later known as Donnie Young, Johnny Paycheck, John Austin Paycheck and perhaps a few other names that have slipped by me, Paycheck was possessed of enormous talent as a vocalist, but not as much talent at keeping himself in check. As a result, he continually found himself in hot water.
Johnny Paycheck was born in the small rural town of Greenfield, Ohio. Greenfield, located about 70 miles to the northeast of Cincinnati and 60 miles south of Columbus, is a typical Midwest small town, the sort of place Hal Ketchum sang about in his song “Small Town Saturday Night”, It’s the kind of town people either remain in forever or can’t wait to leave. For a restless spirit like Paycheck, leaving was first and foremost in his thoughts.

He hit the road in 1953 with his clothing and his guitar, eventually winding up at a Navy recruiting center where he lied about his age and signed up for a tour of duty. Needless to say, restless spirits such as Johnny Paycheck rarely function well under the yoke of military discipline. While in the Navy, he got into a fight with an officer. Paycheck was court-martialed and sentenced to hard time in a Navy brig. Released after approximately three years, Johnny headed to Nashville to see if he could put his musical talent to good use. Since he had been playing the bars, skull orchards and juke-joints for side money ever since leaving Greenfield, it seemed like a logical thing to do.

Nashville during the late 1950s was not the cosmopolitan city that it is today. Nashville, in those days, was a boisterous town, a hangout for country musicians and a place where hard-working (and hard drinking) country boys came to blow off steam and have a good time. Paycheck fit right in, and before too long, his songwriting and instrumental abilities – and his unique vocals – came to the attention of the country music community. Soon, he was working as a sideman in the bands of some of the biggest stars in Nashville, including Ray Price (who recorded Johnny’s composition “Touch My Heart”), Faron Young, Porter Wagoner, and, later, George Jones.
His tempestuous nature led to him changing employers with some frequency. Difficulties with the likes of Faron Young and George Jones, both notorious carousers, were destined to occur.

Paycheck cut a couple of country and rockabilly sides for Decca and Mercury in the late ´50s under the moniker Donnie Young, before signing on as the full-time bassist and harmony vocalist with George Jones in 1960. Interestingly enough, Paycheck/Young´s first single, “On This Mountain Top” was billed as a duet with another restless soul – Roger Miller (although Miller functions basically as a background singer). The single gave Johnny his first chart success as the single reached #31 on Cashbox´s country chart. While this was a promising start, it would be more than a decade before he achieved sustained success as a recording artist.
During this period, Paycheck was in demand as a high tenor harmony singer, appearing on recordings with Faron Young, Ray Price, Skeets McDonald and countless others. His appearances with George Jones are often claimed to have influenced Jones´ vocals, and listening to Jones´ recordings of the 1960s, it is easy to discern a stylistic shift from those of the Starday/Mercury years. Whether or not this shift was as a result of Johnny Paycheck’s influence will forever be subject to debate.

In 1964, the Beatles´ music finally crossed the Atlantic Ocean (they had been big in Great Britain for about 18 months) and had some influence on the landscape of pop music. Of even greater importance in 1964 was another event – the convergence of the vocal stylings of Johnny Paycheck with the production genius of Aubrey Mayhew, a maverick Nashville record producer. Read more of this post

25 Greatest Live Country Albums

All readers of this website are fans of recorded music. I would assume that most also enjoy seeing and hearing music performed live. After all, there is electricity which permeates a live performance, the interaction of performer and audience coupled with the ambiance of the venue. Tempos are usually faster, there is banter between the performer and the band and/or audience, and often songs are performed that never are recorded by the artist.

That said, it can be very difficult to capture that electricity and the landscape is littered with poor live recordings, victims of either poor recording technology, poor venue acoustics or sub-par backing bands (I had a cassette copy – probably a bootleg – of a live Chuck Berry performance in France where he was backed by what was essentially a polka band, complete with tuba and accordion). Below is my  listing of the greatest live country albums.  My list is solid country, without too many fellow travelers such as Americana or alt-country artists. I may admire John Prine and Townes Van Zandt as songwriters but I cannot stand to listen to either of them sing. The less said about the Eagles and Gram Parsons, the better.  In putting my list together, I’ve limited any given artist to one album, although I may comment on other live albums issued by the artist.

Yes, I know that bluegrass and western swing are underrepresented in my list as are modern era artists, although if I expanded to a top forty list, I’d have albums by Alabama, Tracy Lawrence, Tom T. Hall, Brad Paisley, The Osborne Brothers, Glen Campbell, Bob Wills, Hank Thompson, Rhonda Vincent and Hank Williams to include. Moreover, over time there have been improvements in recording technology and the sound of live recordings has improved, so sonically, some of the albums I’ve left off will sound better than some I’ve included.

Read more of this post