February 2, 2012
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For part four of this series, I’ll be using the same criteria as before – just some songs I liked, one song per artist (although I will feel free to comment on other songs by the artist). This part stops in the middle of the letter M.
“Joy To The World” – Murray Kellum (1971)
A nice country cover of a #1 pop hit for Three Dog Night, this reached #26 and was Murray’s biggest hit. He died in a plane crash in 1990 at the too-young age of 47. Hoyt Axton wrote this song.
“Honky Tonk Wine” – Wayne Kemp (1973)
Wayne Kemp was better known as a songwriter who penned major hits for the likes of George Jones (“Love Bug”), Conway Twitty (“The Image of Me”) and countless others. This song reached #17, and was Wayne’s biggest hit.
“Sweet Desire” – The Kendalls (1978)
A father and daughter duo, Jeannie took on most of the lead vocals while father Royce sang harmony. The Kendalls kept the radio airwaves safe for real country music during the middle and late 1970s. I liked everything the Kendalls ever sang, and have no idea why the new traditionalist movement of 1986 failed to re-ignite their career.
“Mama’s Got The Know-How” – Doug Kershaw (1974)
For someone as famous as he is, Doug Kershaw had only seven chart hits as a solo act, to go with his five hits as part of Rusty & Doug. This one got to #77, a fairly normal placing for his solo efforts. Although I liked this song, his Warner Brothers albums of the 1970s were mostly laconic efforts. Read more of this post
March 17, 2010
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Former Wrecker Jessica Harp surprised many by her recent announcement that she was leaving her record label and abandoning hopes of a solo career in favour of becoming a full time songwriter. While retaining rather more dignity than Jason Michael Carroll’s unforgettable but rather sad “Arista and I are going our seperate [sic] ways! They called and said they would be moving forward without me!” this may be a case of jumping before she was pushed, as Jessica’s solo singles had failed to set the charts alight, although her now ex-label has chosen to release her album digitally as a parting gift for her fans.
Time will tell whether she will be successful in her new course. She would hardly be the first Nashville songwriter to start out wanting to be an artist in her own right, or indeed the first to enjoy a short chart career.
Dean Dillon’s distinctive turn of phrase has made him one of the most sought-after writers in the past 20 years. With a voice as quirky and distinctive as his writing, he started out as a singer. A string of singles on RCA were minor hits in the late 70s and early 80s, including the first versions of his own songs ‘Nobody in His Right Mind Would’ve Left Her’ and ‘Famous Last Words Of A Fool’. The former was a top 30 hit, the latter failed to make the top 50, but neither had the chart impact they deserved – or that they had when George Strait covered them. The label also teamed Dean up with honky tonker Gary Stewart as a duo, releasing one full length album and a six track EP. Those early RCA recordings (both solo and duet) are virtually all now available on one CD. A successful run as a songwriter followed, but he had not given up his dreams of solo stardom, and in 1988 he signed to Capitol. Two albums for that label, and two more for Atlantic, failed to quite take off. The critical moment arrived when he planned to release ‘Easy Come Easy Go’ as a single – and found Strait wanted to record the song. He relinquished the song, and settled down to life as a writer for others.
I’ve never really understood why Larry Boone’s solo career never took off. He was signed to Mercury in the late 80s, and later Columbia; he was good looking, had a great voice, and was an excellent songwriter. But only a few of his singles charted, the most successful being his #10 ‘Don’t Give Candy To A Stranger’ which was our Classic Rewind a week ago. Luckily, he had that songwriting talent to fall back on.
Skip Ewing was another recording artist to enjoy a handful of hit singles in the late 80s, then turn to writing them for others when his own chart career wound down. He had much more success in the latter capacity, writing multiple #1s. He made a return to the airwaves in his own right as Reba’s duet partner on the radio version of ‘Every Other Weekend’.
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