My Kind of Country

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Album Review: Johnny Paycheck – ‘Someone to Give My Love To’

While the Little Darlin’ Recordings served to get Johnny’s name known, at some point the label lost steam and was folded by Aubrey Mayhew. In fact the last of the Mayhew-Paycheck collaborations was released on the Certron label. Once again Paycheck found himself on the outside looking in.

There´s an old saying that ‘The honky-tonk life kills off the honky-tonk singers’, In Johnny Paycheck’s case, that almost proved to be true as the twin demons of alcohol and drug abuse momentarily brought his career to a halt. Fortunately for Johnny, a talent as formidable as he was, rarely stayed forgotten in Nashville during the early 1970s. While he was drying out, the country music genre was undergoing some changes. Bands such as Creedence Clearwater Revival, Matthews Southern Comfort, The Byrds, Poco and Pure Prairie League were adding country sounds to their forms of rock music. Meanwhile, former rockers like Jerry Lee Lewis and Conway Twitty were experiencing success on country radio. Hoping to capitalize on the new energy affecting country music, CBS record executive and fan Nick Hunter tracked Paycheck down (there are stories of him sleeping under freeway bridges and on park benches). Hunter brought Paycheck to the attention of producer Billy Sherrill, who signed him to Epic Records and recorded him as a straight-ahead country balladeer. Success came immediately as the first single “She’s All I Got” reached #2 Billboard/#1 Cashbox/#1 Record World, and the album of the same name reached #4 upon its release in December 1971.

Someone To Give My Love To was Johnny’s second release for Epic, released in May 1972. The title track, released as the first single from the album replicated the success of his first Epic single reaching #1 on Record World (#2 Cashbox /#4 Billboard). This song was written by the successful songwriting team of Bill Rice and Jerry Foster. Paycheck would record many more of their songs.

I could search from now till the end of time
And never find another you
I’m so glad because I know you’re mine
Someone to give my love to

Now I believe my love that you’re one of a kind
For there’s no one else like you
You’re the light of my life so let it shine
Someone to give my love to

[Chorus]
I found happiness is loving you
And I’ll do my best to make your dreams come true
I will follow you to the end of the earth
For my place will be with you
I have taken you for better or worse
Someone to give my love to

Tracy Byrd would cover this song 30 years later.

Next up is “Smile Somebody Loves You”, a generic ballad that makes a decent album track. “Something” by English songwriter George Harrison is a song that has been covered hundreds of times. Welsh torch singer Shirley Bassey had a huge hit with the song while I was living in England, reaching #4 on the UK pop charts while being a top ten record in numerous other countries. Johnny does a nice job with the song, but with the exception of a little steel guitar, the arrangement is nearly a clone of Bassey’s recording.

Johnny wrote “Your Love Is The Key To It All”. A nice ballad that has a generic instrumental backing that sounds like it was intended as a Tammy Wynette track.

The sun always shines in my world down even when the rain should fall
The light of happiness is always shining and your love is the key to it all
One day you just walked into these arms of mine
Lift me up and with your love made me stand tall
Now I know what happiness in life is all about and your love is the key to it all

Your love is the key that fits every lock to every single door in failure’s wall
Now I’m strong enough to do anything I have to and your love is the key to it all
One day you just walked…
Your love is the key to it all

Jerry Jeff Walker never had any real hit records, but he sure wrote a winner in “Mr. Bojangles”. Walker has said he was inspired to write the song after an encounter with a street performer in a New Orleans jail, after he was jailed for public intoxication. Contrary to popular belief the song was not inspired by famed black dancer Bill “Bojangles” Robinson, but by a homeless white man who called himself “Mr. Bojangles” to conceal his true identity from the police.

Walker’s own 1968 recording of the song died at #77, but the Nitty Gritty Dirt Band pushed the record to #9 on the US pop charts (and #2 on the Canadian pop charts) and performers such as Sammy Davis, Jr. and William Shatner have performed the song. Paycheck’s version is performed in a straight-forward manner – it makes a nice album track.

“Love Is A Good Thing” is another song from the Foster-Rice songbook. According to Billboard the song only reached #12 (#13 Record World/#11 Cashbox). Given how frequently I heard the song on country radio, I suspect that the song was more popular in some areas than others. It is a great song

Girl, you give your precious love to me and we’ve got a good thing goin’
There’s no end in sight that I can see cause our love just keeps on growin’
Bring on happiness let us sing love is a good thing
We can take what life may offer us and when trouble comes around
There’s no way it’s gonna break us up nothing gets a good love down
Bring on sunshine let us sing love is a good thing
Yeah love is a good thing let us sing love is a good thing

“A Heart Don’t Need Eyes” and “She’ll All I Love For” are a pair of Paycheck’s compositions, both decent album tracks. The former is a standard weeper that would have made a decent, but not great single for Paycheck (or George Jones for that matter.) The latter is a upbeat love song to his wife .

“The Rain Never Falls In Denver” is a mid-tempo upbeat Foster & Rice love song. It could have made a decent single for someone but as afar as I know, it was never released by anyone as a single.

Oh, the rain never falls in Denver
‘Cause you make the sun shine all the time
Oh, the rain never falls in Denver
Since you came along and brought your love to this heart of mine

One time in Chicago, Illinois
A pretty woman turned my head around
That city woman said she love this poor country boy
Any cloudy in Chicago and the rain came pouring down

But the rain never falls in Denver
‘Cause you make the sun shine all the time
Oh, the rain never falls in Denver
Since you came along and brought your love to this heart of mine

“High On The Thought of You” is a interesting song about a love that is gone. Johnny does an effective job of singing the song

I don’t need the help of the red wine in the glass to ease my mind
I found out the way to forget the way you left me here behind
I drink up a mem’ry and it takes me back to places that I’ve been
I just think about you and I’m high on the thought of you again

The album closes with “It’s Only A Matter of Wine”, the title a takeoff on the title of an old Brook Benton classic. The song itself, written by Frank Dycus and Larry Kingston, has nothing to do with Benton’s song.

They’re stackin’ the chairs on the table again they block down the Budwiser sign
`Soon they’ll be callin’ a taxi for me it’s only a matter of wine
Yes it’s only a matter of wine till I’m something that words can’t divine
Yes she’ll soon be out of my mind and it’s only a matter of wine

Outside a big truck is washing the street leaving our dream world behind
While inside I’m washing your mem’ry away cause it’s only a matter of wine
Yes it’s only a matter of wine…
Yes it’s only a matter of wine

Johnny Paycheck was a very distinctive vocalist whose voice could occasionally (but only rarely) be mistaken for George Jones – but for no one else. His ability to put across emotion could be matched by few and exceeded by none. The albums released by Epic are generally very good, but that distinctive instrumental sound and style of the Little Darlin’ years had been lost, replaced by the “country cocktails” sound of Billy Sherrill. Unfortunately, album covers from this era did not routinely list musician credits and I haven’t been able to find them elsewhere.

On a few of the tracks, it sound as if tracks were produced first; then a vocalist selected to sing the song. With an artist as distinctive as Paycheck, the vocals cut through the clutter and produce recordings worth hearing.

Grade: B+

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Album Review: Alabama – ‘My Home’s In Alabama’

my home's in alabamaThe first major label album for Alabama was My Home’s In Alabama, although it was actually their fourth album. By the time RCA released this album in 1980, Alabama was a tight, cohesive band with a distinctive sound of their own and a decent track record of success with two of their MDJ singles having charted in 1979 (“I Wanna Come Over” at #33), and early 1980 (“My Home’s In Alabama” at #17).

With My Home’s In Alabama, Alabama was instantly transformed from a successful regional act into a national goliath Although the group was sometimes described as being country-rock or rock country, this album wasn’t close to fitting that category as the band didn’t begin to approximate the rockin’ sound of the Allman Brothers, Poco, Lynyrd Skynyrd, Marshall Tucker or even Hank Jr. for that matter. Even the title track is essentially a country song with extended instrumental breaks.

The album opens with “My Home’s In Alabama”, written by Teddy Gentry. I am not sure, but I think this track is a remake of the single released on MDJ. The track runs 6+ minutes and received considerable airplay after this album was released:

Drinkin’ was forbidden in my Christian country home
I learned to play the flattop on them good ol’ gospel songs
Then I heard about the barrooms just across the Georgia line
Where a boy could make a livin’ playin’ guitar late at night
Had to learn about the ladies; too young to understand
Why the young girls fall in love with the boys in the band
When the boys turn to music, the girls just turn away
To some other guitar picker in some other late night place

The next track is another Gentry-Owen composition “Hangin’ Up My Travelin’ Shoes”, a song which might have made a decent single but definitely not a better single than the actual singles that were released. The song is an up-tempo song about what the narrator is going to do now that he’s found the girl of his dreams:

‘I’m folding up my wings for you, I’m hanging up my travelin’ shoes’.

Teddy Gentry and Richard Scott penned “Why Lady Why” which was the second official RCA single released and the band’s second #1 single. The single was a slow ballad which Owen was able to wrap his vocal cords around to great effect. It is a nice ballad, although not especially country.

“Getting Over You” by Cary Rutledge, is a slow ballad , a good song but not particulary single-worthy. The next song, “I Wanna Come Over” written by Richard & Michael Berardi, actually was a single on MDJ, although I don’t recall hearing it while it was in single release.

“Tennessee River” was the first single released from the album and the first major label release for Alabama. It shot straight to #1 and has remained in the repertoire of bar bands and cover bands since it was first released 35 years ago. This upbeat song features a hot fiddle and was a great number for dancing (not that I, with my two left feet, ever danced to it):

I was born across the river in the mountains where I call home.
Lord, times were good there, don’t know why I ever roamed.

[Chorus]
Oh, Tennessee River and a mountain man, we get together anytime we can.
Oh, Tennessee River and a mountain man, we play together in mother nature’s band

Me and my woman’s done made our plans on the Tennessee River, walkin’ hand in hand
Gonna raise a family, lord settle down where peace and love can still be found

“Some Other Place, Some Other Time” was written by Jeff Cook and features Jeff on lead vocals. The song is a nostalgic ballad and frankly, I don’t understand why RCA insisted that Randy Owen be the ‘face of the franchise’ as far as single releases were concerned.

Teddy Gentry wrote “Can’t Forget About You”, a nice ballad that was simply too long (5:39) to consider as a single. Yes, I know “My Home’s In Alabama” runs 6:27 and was issued as a single but that was a pre-RCA release.

“Get It While It’s Hot” was written by all three band members and Richard Scott. It’s kind of a funky R&B number, perhaps more suitable for dancing than listening. I regard it as the weakest track on the album, but it likely never was meant to be anything more that an album track.

The album closes with another Jeff Cook lead vocal on a track Jeff wrote with Richard Scott. “Keep On Dreamin’” is an excellent mid-tempo that would have made a good single.

I suspect this album featured more and better musicians that Alabama had available to them on MDJ, as the additional musicians are a Who’s Who of ace session men, including Jack Eubanks on acoustic guitar, Sonny Garrish on pedal steel guitar, Terry McMillan on percussion and Fred Newell on electric guitar. Alabama’s Jeff Cook plays lead guitar, with Teddy Gentry on bass guitar, Randy Owen on rhythm guitar and Mark Herndon on drums. All of the band members are involved with the vocal harmonies.

My Home’s In Alabama really got the ball rolling for the band, reaching #3 on the country album charts and #71 on Billboard’s all genre albums chart. Successful as this album was, the next eight albums would all reach #1 country and the next three would be top ten albums on the all genres album chart. As Frank Sinatra once sang “The Best Is Yet To Come”.

Fellow Travelers: Pure Prairie League

pure prairie leagueThere were many rock groups during the late 1960s and early 1970s that straddled the line between rock and country music. Most of them (Poco, The Byrds – but only for one album, Matthews Southern Comfort, Creedence Clearwater Revival, Crosby Stills & Nash) were definitely more rock than country.

My favorite of these rock-country/country rock groups was Pure Prairie League. The fact that they were my personal favorite probably explains their relative lack of commercial success.

Who Were They?

Pure Prairie League (“PPL”) was formed in the mid-1960s by Craig Fuller with the band carrying a number of names before then-band member Tommy McGrail came up with Pure Prairie League, named after a fictitious temperance union featured in the 1939 movie DODGE CITY starring Errol Flynn. From 1970 onward (and occasionally before), the band lineup featured a steel guitar.

During the early 1970s Pure Prairie League never received the country airplay they deserved, although many country stations would play an occasional track or two, but their success at college radio stations kept them in the public eye and in 1975 caused their initial label RCA for whom they had cut two albums in 1972 (PURE PRAIRIE LEAGUE and BUSTIN’ OUT) to track them down and re-sign them to the label to do some more recording. The single released by RCA from BUSTIN’OUT benefited from the additional promotion from RCA and charted in 1975 reaching #27 on Billboard’s Pop chart and making a bigger impact in Canada reaching #40 on the Canadian Pop chart and # 19 on the Canadian Adult Contemporary chart. Although “Amie”, with Craig Fuller on lead vocals, did not chart on the country charts, it did become a staple as a country ‘oldie’ on country stations everywhere. One single, their 1976 cover of Buddy Holly’s “That’ll Be The Day” did creep into the lower reaches of the Country chart.

Over the years PPL recorded for a number of record labels and had various musicians flowing in and out of the band. PPL has disbanded and reunited at several points along the way. Although “Amie” is the best remembered of their songs, 1980’s “Let Me Love You Tonight” was their biggest hit reaching #10 Pop and #1 Adult Contemporary. From 1975-1981 the band charted eight pop singles. As of 2014, the band is still intact and performing about 100 dates annually. PPL also charted nine albums from 1972 to 1981 with TWO LANE HIGHWAY reaching #24 on Billboard’s POP album chart.

What Was Their Connection to County Music?

PPL’s importance to country music can be summarized as follows:

1) “Amie

2) Vince Gill – vocalist from 1978-1981 and lead vocalist on “Let Me Love You Tonight”

3) “I’ll Change Your Flat Tire, Merle” – track on 1975 album TWO LANE HIGHWAY, a track which does more than simply name-check the greatest singer in country music history

4) TAKIN’ THE STAGE – really fine two album live set from 1977 that shows that PPL wasn’t a studio creation as the bad nearly replicates the sound of their studio albums. I didn’t list this in my list of the greatest live country albums a few years back because I regard PPL as not quite country, but I sure was tempted to list it

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

Spotlight Artist: Vern Gosdin

The April Spotlight Artist is one of the truly great vocalists in the history of the genre, Vern Gosdin. There are very few male recording artists who deserve to be mentioned in the same breath as Geoge Jones, Ray Price and Gene Watson. It takes the ability to convey the depths of despair, the heights of jubilation and the serenity of an abiding faith – that’s all that is required to be known as “The Voice” and Vern was one of the few to fit the bill.

Born in Woodland, Alabama, Vern (1934-2009) and his brother Rex (1938-1983) first surfaced in the American conscious during the 1960s in various capacities in the Southern California music scene. Despite inclusion in the Byrds’ inner circle of musicians and friends, the Gosdin Brothers bluegrass/country/rock hybrid never achieved great success.

The Gosdin brothers grew up with their seven siblings on a farm. Since money was never in great supply, they, like many other poor rural children, turned to music to escape the drudgery of everyday life. Energized by their discovery of the Louvin Brothers, Rex and Vern (and a third brother) started singing together, mastering the art of vocal harmony, and performing regularly on local radio station WVOK as teenagers. In 1953 Vern moved to Atlanta and in 1956 he moved again to Chicago where he ran a country music nightclub. Meanwhile Rex had moved to California.

Vern moved to Los Angeles in 1961, where he joined up with Rex and they expanded their musical horizons as they found their way into a bluegrass group led by Chris Hillman called the Golden State Boys. The group later changed its name to the Hillmen. Their association with master musician Hillman led to their acceptance into the Los Angeles music scene from which the Byrds and such later stars as Poco, Linda Ronstadt and the Eagles emerged. During this period, the Gosdin Brothers picked up gigs when available, performed on recording sessions, and recorded a few songs as a duo. The duo expanded their musical repertoire, moving into an area somewhere between the folk-rock of the pre-Gram Parson Byrds and the Country-Rock that would emerge in the early 1970s.

In 1966 Vern and Rex contributed vocal harmonies to Gene Clark’s album Gene Clark and the Gosdin Brothers. In 1967 a single, “Hangin’ On,” cracked the charts, leading to the release of the duo’s only album, Sounds of Goodbye on Capitol in 1968. The title song, written by up and coming songwriter Eddie Rabbit was a hot commodity-so much so that three different acts recorded and released the song as a single, ensuring that no one would have a big hit with the record, although Opry veteran George Morgan came closest as his version was a big hit in the Southeast and Mid-Atlantic areas. Tommy Cash’s record also made the national charts with the song. The Gosdin Brothers version did not chart nationally, but it did well on the left coast.

Since country music was a singles-driven genre, the failure of “The Sounds of Goodbye,” the most radio-friendly cut on the album, spelled finis to their recording career on Capitol. This was truly a pity as the album contains many great harmonies and otherwise worthwhile moments including original material in “For Us To Find” and “The Victim.” While the Gosdin Brothers sounded good collectively, Vern’s sparkling vocals were the highlight of the album. Discouraged, the Gosdin Brothers split up with Vern largely dropping out of the entertainment business for a while when he returned to Atlanta, where he ran a glass and mirror shop. Rex continued to perform.

Never Give Up – The Voice Returns

Vern Gosdin never entirely stopped performing. In 1976, he returned to recording for the Elektra label, charting his first solo chart hit, a solo version of “Hangin’ On” and enjoying Top 10 hits with “Yesterday’s Gone” (both featuring harmony vocals by Emmylou Harris, a friend from his California days) and “Till The End.” By this time he was forty-two years old. He left his sons to run the glass and mirror business and rejoined brother Rex for touring. Unfortunately, Rex died in May 1983 at the age of 45, some two weeks before his own solo recording of “That Old Time Feelin'” entered the charts.

Elektra’s country division folded in 1980 and Gosdin landed on smaller labels AMI (which folded) and Compleat where he enjoyed continued success. After landing with Compleat, Gosdin joined forces with songwriter Max D. Barnes (whose son Max T. Barnes also was a successful songwriter) to write some truly classic honky-tonk laments. In 1983 Gosdin had two top five hits (“If You’re Gonna Do Me Wrong” and “Way Down Deep”) and in 1984 he had his first #1 single with “I Can Tell by the Way You Dance (You’re Gonna Love Me Tonight)” and had two additional top 10 hits.

After 1984, his career hit a temporary lull, but the “New Traditionalist” movement lured Columbia into signing him in 1987 where he justified Columbia’s faith in signing him with a top 10 hit in the tormented “Do You Believe Me Now.” In 1988 Gosdin returned to the top of the charts with his Ernest Tubb tribute “Set ‘Em Up Joe.” The next year “Chiseled In Stone,” co-written with Barnes, won the Country Music Association’s Song of the Year and cemented his reputation as one of the all-time great song stylists. His 1989 album, Alone, chronicled the breakup of his own marriage.

As a solo artist, Vern Gosdin charted 41 country chart hits, with 19 top ten records and 3 chart toppers.

Vern was hospitalized in 1995 with a stroke and subsequently dropped by Columbia. He continued to record sporadically after that, most notably the 2004 album Back In The Swing of Things and the four CD set 40 Years of The Voice issued just months prior to his death in April 2009. In 2005, Gosdin was inducted into the Alabama Music Hall of Fame. Perhaps the Country Music Hall of Fame will see fit to do likewise.

“The Voice” is now silenced but he left behind an incredible legacy of recorded performances. Join us now as we explore the music of April’s Spotlight Artist, the incomparable Vern Gosdin.