My Kind of Country

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

Tag Archives: McHayes

March Spotlight Artists: Daryle Singetary, Wade Hayes and Ty England – the Class of 95

We were all saddened here at MKOC by the sad news of the premature death of Daryle Singletary. We’d never covered him as one of our Spotlight Artists because he had a relatively small discography, and had reviewed his more recent releases independently. However, we have decided to combine a look back at his earlier career with two other artists who also emerged the same year, 1995. This was after the neotraditional revival had begun to subside, and none of our three choices had as long a period of commercial success as they deserved.

Daryle Singletary was born in Cairo, Georgia, in 1971. Blessed with a classic country voice, a rich, deep baritone, he began singing in his youth, and moved to Nashville while still in his teens. Having the kind of voice which could make any song sound better, he soon found work singing demos for songwriters. It seems that some of those demos are currently in the hands of an opportunistic label which released a single to capitalize on the publicity following Daryle’s death, but has been forced to withdraw it.

One of those demos, ‘An Old Pair Of Shoes’, was submitted to Randy Travis, who was seeking new material. Randy was impressed not only by the song, which he duly had a minor hit with, but by the singer. He became a mentor to the newcomer, helping him get a deal with Giant Records and co-producing Daryle’s debut album in 1995.

That album resulted in one big hit, the #2 peaking ‘I Let Her Lie’, and Daryle followed it up with a few more top 5 hits as well as some less successful singles. However, he did not sell enough records, and after three albums he moved on from Giant to a series of independent labels. Although he was no longer a real commercial prospect, the music itself was better than ever as he matured as an artist. He was something of a standard bearer for traditional country music in the new millennium.

His most recent album was a superb collection of duets with Rhonda Vincent. His tragic death has robbed us all of many years of great music.

Wade Hayes is an excellent partner for this retrospective, as he too is a traditional leaning artist whose period of success was far too short, although he has a naturally plaintive voice made for country music. Wade was born in 1969 in Oklahoma, where his father had a country band, and he grew up playing guitar and mandolin. He moved to Nashville in 1991 after dropping out of college, and secured a job as Johnny Lee’s guitarist. He also began writing songs and singing demos. His break came through songwriter Chick Rains, who helped him sign with Columbia in 1994.

He was an immediate success, with his debut single ‘Old Enough To Know Better’ topping the charts in 1995. However, after an initial flurry of hits he was unable to maintain his momentum, and after three albums moved to Monument in 2000. This failed to revive his fortunes. He then teamed up with Alan Jackson’s fiddle player Mark McClurg to form a short-lived duo named McHayes, but their sole single failed to catch attention.

After a spell in Randy Owen’s band, Wade returned to making his own music at the end of the 2000s, self-releasing a new album. His career was then further stalled by serious health issues. He fought off two bouts of cancer which were thought by his doctors to be terminal, and is now active again.

Our third artist is Ty England. Gary Tyler England was born in Oklahoma in 1963. He was Garth Brooks’ college room mate, and when Garth got his Capitol record deal Ty joined his road band. In 1995 Ty got his own solo deal with RCA, and a big hit with ‘Should’ve Asked Her Faster’. He later moved to his old boss’s label and was rebilled as Tyler England. However, his post-major label career was less notable than that of our other spotlight artists this month. His one self-released album was not very good, and he is no longer involved in the music business.

We hope you enjoy this retrospective look at three artists who were all regarded as the next big thing 23 years ago.

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Album Review: Wade Hayes – ‘Place To Turn Around’

Place To Turn AroundWade Hayes was one of the more underrated of the 90s neotraditionalists, scoring only six top 10 hits in his career. I always liked his melancholy-tinged voice, and I was pleased to find he has released his first album in nine years. It’s very much an independent effort, with Wade writing or co-writing almost all the material and playing acoustic and electric guitar, and Wade has released it himself.

It opens a little disappointingly with ‘Good Day To Go Crazy’. The song itself (co-written with Jerry Salley and Jenny Farrell, both of whom contribute backing vocals on the album) is fine, as the protagonist suggests he and his woman take a break from everyday life, but Wade’s voice is too low in the mix. Luckily, things pick up immediately with the charming ‘The Best Part’, written with Michael White and Carson Chamberlain, although the production is a bit heavier-handed than I would like. Wade offers some cogent advice from his father in the aftermath of a failed marriage:

“Something special grows when two people know
They won’t run when things get hard
If you only want the good time
You’re gonna miss the best part.”

White also worked with Wade on the despairing plea to God, ‘What’s A Broken Heart To You’, which I really like, although I would have preferred a more stripped-down production without the electric guitar solo. Better-sounding, although breaking no new ground lyrically, is the tender ‘God Made Me (To Love You)’, which Wade wrote with Trent Jeffcoat and Roger Springer. Springer also wrote (with Ward Davis and Wade) the bouncy ‘Right Where I Want You’ as a former commitment-phobe gets well and truly caught by a woman “smart enough for the both of us”, who has got him “right where I want you all the time”. Equally entertaining is the cheery western swing of ‘Every Time I Give The Devil A Ride’, written with Jerry Salley and Jim McBride, with its metaphorical look at giving in to temptation.

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