Country music from a fan's point of view since 2008
We interrupt this program to present an album that was recorded before ANY of the albums we’ve reviewed up to this point. Lost for many years, the masters for this album were recently recovered and are now released for your listening pleasure by the good folks at Yep Roc.
It has always been the case that musicians and singers have been quicker to recognize Lauderdale’s talents than record executives, radio programmers and the general public.
Lauderdale arrived in Nashville and started hanging around with Roland White, brother of the legendary guitarist Clarence White, and then (as now) one of the great mandolin players. Roland was (and is) an astute judge of talent and saw in Lauderdale an up and comer. White arranged to cut an album with Lauderdale in Earl Scruggs’ home studio with a band that included Marty Stuart on guitar, Gene Wooten on Dobro, Johnny Warren (of current Earls of Leicester fame) on fiddle, and of course White on mandolin. For reasons I will never understand the album was never released and presumed lost.
The album is comprised of two Lauderdale originals and ten songs from the folk and bluegrass canon.
The album opens with a Lauderdale original “Forgive & Forget” that has the sound of a burnished country classic. The song is taken at a medium fast tempo with fine fiddle and Dobro solos and that country harmony.
“Gold and Silver” comes from the pen of Shirley “Milo” Legate. I don’t know much about him, but it is a fine song that was originally recorded by George Jones. Legate also wrote some songs for Sonny James and placed bass for Sonny as part of his Southern Gentlemen.
“(Stone Must Be) the Walls Built Around Your Heart” is an old classic Don-Reno & Red Smiley composition on which Jim sings the verses and Roland joins in on the chorus.
Clyde Moody is largely forgotten now, but he was a fine singer and songwriter whose “Six White Horses” is a song that fits in the cracks between folk and bluegrass. Dobro dominates the arrangement on this bluesy song, but there is also a nice walking bass line in the song.
L-Mack penned “I Might Take You Back Again”, a mid-tempo song about a fellow contemplating taking his wayward love back.
Donovan Leitch (a/k/a “Donovan), a Scottish folk singer, was a major pop star in the US, UK and Australia with his greatest success in the UK. “Catch The Wind” was top five in the UK and Australia but just missed the top twenty in the US. While not his biggest hit, it is probably his most covered tune, covered by nearly every folk act and many country and pop acts. Even Flatt & Scruggs covered the song
In the chilly hours and minutes
Of uncertainty, I want to be
In the warm hold of your loving mind
To feel you all around me
And to take your hand, along the sand
Ah, but I may as well try and catch the wind
“Don’t Laugh” was a classic brother-style duet originally performed by Rebe Gosdin & Rabe Perkins.
Gosdin wrote the song which is definitely part of the bluegrass canon. I’ve heard recordings by the County Gentlemen, the Louvin Brothers and J. D. Crowe and have heard other acts perform the song in live concert . Rebe may have been a distant relative of country great Vern Gosdin.
If I cry when I kiss you when we say goodbye
Don’t laugh, don’t laugh
If I say I’ve always loved you and I will til I die
Don’t laugh, don’t laughI could never find another there’s no use for me to try
I beg of you my darling, please don’t laugh if I cry
If I say I’ve always loved you and I will til I die
Don’t laugh, don’t laugh
“Regrets and Mistakes” is the other Lauderdale original on the album. The song is a slow ballad with Lauderdale singing lead and White singing an echo and harmony. The song is nothing special but it definitely is not out of place on this album.
It is rather difficult to categorize Shel Silverstein as a songwriter – he was all over the place. On “February Snow” Shel serves as a straight-ahead ballad writer. Bobby Bare recorded the song on an album.
“That’s What You Get) For Loving Me” was written by Gordon Lightfoot, and covered by the likes of Johnny Cash, Peter, Paul & Mary, Waylon Jennings and Ian & Sylvia. In fact, it was Waylon’s first top ten single.
That’s what you get for lovin’ me
That’s what you get for lovin’ me
Ev’ry thing you had is gone
As you can see
That’s what you get for lovin’ meI ain’t the kind to hang around
With any new love that I found
‘Cause movin’ is my stock in trade
I’m movin’ on
I won’t think of you when I’m gone
The album closes with a pair of Alton Delmore compositions “Gonna Lay Down My Old Guitar”and “Nashville Blues”. The Delmore Brothers were perhaps the quintessential brother act. Roland and Jim do them proud .
My only criticism of the album is that I would like for Roland’s mandolin to have been a little more forward in the mix. Lauderdale mostly sings the leads, and while he is a good guitar player, I think he left the pickin’ to the ace musicians that Roland collected for the project – when you look at the names below, you’ll see that leaving the pickin’ to them could never be a mistake.
im Lauderdale – vocals
Roland White – vocals, mandolin
Stan Brown – banjo
Terry Smith – bass
Marty Stuart – guitar
Johnny Warren – fiddle
Gene Wooten – dobro
To me this album is a very solid A.
Born in 1925, Malcolm “Mac” Wiseman is the renaissance man of county and bluegrass music – singer, songwriter, musician, A&R man, record producer, disc jockey, co-founder of the Country Music Association. Mac was an early pioneer of country music, performing with Molly O’Day, and was a very early member of Flatt & Scruggs’ Foggy Mountain Boys, and later performed with Bill Monroe.
Mac survived polio, changing musical trends, changes in the structure of the recording industry, yet through it all, he has remained “the voice with a heart”, possessor of a slick Irish tenor with just enough “down home” in his voice to enable him to sing any form of music convincingly. Mac Wiseman is my absolute all-time favorite bluegrass vocalist.
Mac was elected into the International Bluegrass Hall of Honor in 1993 and the Country Music Hall of Fame in 2014, one of only three bluegrass acts (the others are Bill Monroe and Flatt & Scruggs) to be inducted.
Mac Wiseman has recorded for a wide variety of record labels with performers as diverse as John Prine, Lester Flatt, Merle Haggard and Doc Watson. It would be presumptuous of any box set comprised of only six CDs and 153 songs to claim to tell the Mac Wiseman story, but this set gives it an awfully good try.
The Mac Wiseman Story is comprised of all of the albums that Mac recorded for the CMH (originally County Music Heritage) label from 1976 to 1982, plus some recordings Mac obtained from minor labels.
Disc One is comprised of The Mac Wiseman Story, a collection of twenty songs recorded with the Shenandoah Cutups, the band which accompanied the late great Red Smiley after his split from Don Reno. These are amiable straight-ahead bluegrass recordings of Mac’s most famous songs such as “Love Letters In The Sand”, “I Wonder How The Old Folks Are At Home” and “Tis Sweet To Be Remembered”. I think these are Vetco recordings from 1976-1977, but whatever the source, these are fine recordings.
I should note that in order to ensure that each disc is chock full of music, that tracks from the 1979 CMH double album The Essential Bluegrass Album (with the Osborne Brothers ) are scattered at the end of CDs 1,2,4,5 & 6.
Disc Two is comprised of Country Music Memories and Mac Wiseman Sings Gordon Lightfoot. The former is a 1976 set of classic, mostly 1950s, country music songs ably backed by Arthur “Guitar Boogie” Smith and Clay Smith as well as some other acoustic instruments. The latter, released in 1977, contains Mac’s renditions of some of Canadian folk Singer Gordon Lightfoot’s classic songs as well as some lesser known songs. In addition to Arthur & Clay Smith on guitars, Eddie Adcock appears playing five string banjo.
The entirety of Disc Three is given to one of my favorite albums, The Clayton McMichen Story. Clayton McMichen (January 26, 1900 – January 4, 1970) was an American fiddler and country musician, whose band, the Georgia Wildcats, played a mix of country, pop, jazz and swing tunes. Clayton was regarded as one of the hottest fiddlers of his time. This album, in reality a tribute to Clayton and his band, finds Red Herron taking the role of Clayton McMichen, with Mac taking the role of vocalist Jack Dunnagan, Joe Maphis as tenor banjo player Jerry Wallace and Merle Travis as guitarist Slim Bryant. This album is a cohesive representation of what Clayton and his band sounded like, with an assortment of the reels, rags, blues and thirties pop tunes played.
Disc Four contains the excellent 1982 album Grassroots To Bluegrass. Some of the songs come from the early days of country music before bluegrass split off from country music. Included in this group would be “Kentucky”, “Short Life of Trouble”, and “Don’t Give Your Heart To A Rambler” and the rest are early bluegrass songs such as “I’m Using My Bible For A Roadmap”. Mac is accompanied by a stellar band that includes Eddie Adcock (banjo, guitar), Kenny Baker and Jim Campbell (fiddle), Martha Adcock (rhythm guitar), Josh Graves (dobro), Jesse McReynolds (mandolin) and Missy Raines (bass)
Disc Five finds Mac in the role of hard country/western swing artist on the 1980 album Songs That Make The Jukebox Play. The musicians with Mac on this album include a bunch of guys that played with Bob Wills or with Merle Haggard during his big band days – Johnny Gimble (fiddle & co-producer) , Jim Belken (fiddle), Dick Gimble (bass), Will Briggs (sax), Curley Hollingsworth (piano) , Herb Remington (steel guitar), Eldon Shamblin (lead guitar) and Bill Stone (trumpet). If you ever wondered how Mac does with western swing, wonder no more. Other than Hank Thompson and Tommy Duncan, I can’t think of any better swing vocalists than Mac Wiseman. I bought the vinyl version of this when it came out and kept hoping that Mac would revisit the genre. Among the classics covered are “Bubbles In My Beer”, “Time Changes Everything” , “Driving Nails In My Coffin” and “Wild Side of Life”.
Disc Six is a so-called bonus disc titled Mac Wiseman – Most Requested. This album contains a few songs not found earlier in the box set, plus it contains the remaining track from the Wiseman – Osborne Brothers collaboration.
This box set is released under the Wise Records label which is Mac’s own label. Mac has apparently obtained the rights for many of his recordings from the past. This set retails for $49.98 but you can obtain it for about five bucks less online.
Maybe this isn’t quite a comprehensive account of Mac’s career, but it is a really fine collection and an excellent place to start if you would like to explore Mac’s music. One thing is for sure – after listening to this collection, you will have no doubts as to why he is known as “the voice with a heart”.
Grade: A+
August 1970, saw the release of the fifth Porter and Dolly duet album in Once More. The album featured five songs that Dolly had a hand in writing, plus two fine songs from the Don Reno and Red Smiley songbook, perhaps not so surprising since Porter’s fiddle player Mack Magaha had spent years playing with Reno and Smiley
The album opens up with “Daddy Was An Old Time Preacher Man” co-written by Dolly with her aunt Dorothy Jo Hope about the Reverend Jake Owens, Dolly’s maternal grandfather, who was a Pentecostal minister. Surprisingly, this would be the only single released from the album, reaching #4 on Record World, #7 on Billboard and #12 on the Canadian country chart. The song has the feel of an old-time gospel song and remains one of my favorite Porter & Dolly songs.
Daddy was an old time preacher man
He preacher the word of God throughout the land
He preached so plain a child could understand
Yes, Daddy was an old time preacher man
He told the people of the need to pray
He talked about God’s wrath and judgement day
He preached about the great eternity
He preached hell so hot that you could feel the heatYes, Daddy was an old time preacher man
Aunt Leanona would get up to testify
And we’d sing “In The Sweet By And By”
The we’d sing “I’m On My Way To Canaan Land”
Yes, Daddy was an old time preacher man
This is followed by a magnificent cut on the Reno and Smiley classic “I Know You’re Married But I Love You Still” a song that Mack Magaha wrote with Don Reno. The song, a quintessential forbidden fruit song was a staple of the Reno & Smiley repertoire for years and has been covered as an album track by many country artists. The duo of Bill Anderson and Jan Howard had a minor hit with the song as did Red Sovine.
The day I met you my heart spoke to me it said to love you through eternity
I know exact you were another’s pride I vowed I always be close by your side
I love you Darlin and I always will
I know you’re married but I love you still
You broke a heart dear that would die for you
I’d give the world if I could be with you
“Thoughfulness” is a modest ballad written by Dolly’s uncle Bill Owens. The song is a little subdued compared to most of the duo’s material but it makes a nice album track.
“Fight and Scratch” is one of those humorous ‘bickering couples’ songs that Dolly excelled in writing. I think it would have made for a good single but perhaps RCA was leery of issuing too many novelties as singles.
Fight and scratch fight and scratch that’s all we ever do
There surely must be more to love than to fight and scratch with you
You you to fight and scratch with you
Well you just bought a foal last month now you want a wig
It looks like you couldn’t understand my paycheck ain’t that big
Well what about the dough you lose in them poker games downtown
I figured you’d mention that smart aleck
Yeah and that brand new boat and that fishin’ gear
But no uhhuh I don’t reckon that’d count really
Fight and scratch fight and scratch…
Louis Owens wrote “Before Our Weakness Gets Too Strong” is a straight ahead country ballad, a let’s not cheat song. I’m guessing that Louis Owens might be one of Dolly’s kin.
“Once More” was the last top ten chart hit for the King of Country Music Roy Acuff back in 1958. Later the Osborne Brothers recorded the song for Decca. Porter and Dolly harmonize nicely on the song, but their recording sounds tame compared to the Acuff and Osborne versions. I think if the song had been considered as a single, the duo would have put more muscle into this Dusty Owens (no kin to Dolly) song.
Once more to be with you dear
Just for tonight to hold you tight
Once more I’d give a fortune
If I could see you once moreForget the past this hurt can’t last
So I don’t want it to keep us apart
Your love I need say you’ll love me
And say you’ll give me all of your heart
Joe Babcock’s “One Day At A Time” is neither the same song has Marilyn Sellars gospel hit from 1974 and nor is the same song that Don Gibson hit from that same year. This song is a reflective song about the way to approach life.
Dolly wrote “Ragged Angel”, another one of those doomed children songs that Dolly apparently needed to write as a catharsis. It’s a good song but the lyrics are nothing special. What is of interest is the exquisite Porter and Dolly’s vocal harmonies, which are a little different than their usual fare.
“A Good Understanding” is one of Dolly’s compositions, which suggests a marital relationship in which the ground rules were agreed upon in advance. The opening lyric suggests that this might have been an open marriage but as the lyrics unfold a more traditional relationship is revealed.
The album closes with the Don Reno composition “Let’s Live For Tonight”. While still sticking with usual bluegrass array of instruments, Reno and Smiley probably were the bluegrass group whose music most closely resembled the country music of its era.
Bob Ferguson is listed as the producer on this album, but I suspect that Porter Wagoner carried the bulk of the production duties. There is a characteristic Porter Wagoner & The Wagonmasters sound that permeates all of Porter’s RCA records. That isn’t a bad thing because it made the production of Porter’s records sound different that the vast majority of RCA product, but I am sure that it must have gnawed at Dolly at least a little, because if you removed Dolly’s voice from the duet albums you would have a Porter Wagoner record that sounded incomplete, needing another voice or voices. I like this album quite a bit but for whatever reason, this album is not quite as exuberant as some of their prior (and future efforts). I’d give this a B+ but a little more emphatic treatment of a couple of the songs would have turned this into an A.
The album opens up with “Closer By The Hour”, a song about a relationship moving towards its inevitable consummation. The song is a jog-along ballad written by Al Gore (not the same Al Gore as either of the two Tennessee hack politicos of yesteryear).
Next up is an outstanding version of Tom T. Hall’s “I Washed My Face In The Morning Dew”, This song was Tom T’s first charted single as a singer, reaching #30 in 1967. I think Porter & Dolly missed a bet in not releasing this as a single.
“Jeannie’s Afraid of the Dark” is one of those morbid dead child ballads that Dolly excelled in writing. The song was the B-side of “We’ll Get Ahead Someday” but was sufficiently popular that it charted separately at #51 in late 1968 (Record World had it reach #31).
Her two little feet would come running into
Our bedroom almost every night
Her soft little face would be wet from her tears
And her little heart pounding with fright
She’d hold out her arms, then she’d climb in beside us
In her small voice, we’d hear her remark
“Mommie and Daddy, can I sleep here with you
‘Cause Jeannie’s afraid of the dark”
Jerry Chesnut’s “Holding On To Nothin’”was the second Porter & Dolly single released, and the first single from this album. Released in April 1968, the single spent 16 weeks on the charts reaching a peak of #17. The song is a mid-tempo ballad about what happens when the flame burns out.
Oh, why do we keep holding on with nothin’ left to hold on to
Let’s be honest with each other that’s at least that we can do
I feel guilty when they envy me and you
We’re holding on with nothin’ left to hold on to
Curly Putman’s “Slip Away Today” is a bit more introspective than many of the pair’s songs, sort of in the vein of Carl & Pearl Butler’s “Don’t Let Me Cross Over”. It is a good song but not one with any real potential as a single.
“The Dark End of the Street” by Dan Penn and Chips Moman, is a song about slipping around and trying to keep it secret by stealing away at the dark end of the street.
At the time this album was released Jerry Chesnut was one of Nashville’s leading songsmiths. The next tow songs “Just The Two of Us” and “Afraid To Love Again” are both nice ballads well suited to Porter and Dolly’s vocal harmonies.
Mack Magaha, the fiddler in Porter’s Wagonmasters and before that in Don Reno & Red Smiley’s Tennessee Cutups , isn’t normally thought of as a songwriter, but he did some song writing with both Reno & Smiley and Porter & Dolly recording his songs. Mack’s “We’ll Get Ahead Someday” is a humorous up-tempo song that was the lead single from the album reaching #5.
The paper says there’s a sale downtown I gotta have some money today
Well there’s things at home that’s never been used you bought last bargain day
Well you go out one Saturday night just spend too much money on wine
Well I work hard all week long and I gotta have a little fun sometimes
We’ll get ahead someday…
If the sun comes up and my wife cuts down we’ll get ahead someday
Even in 1967, Merle Haggard’s songs were in great demand, and Porter and Dolly latched onto a good one in “Somewhere Between”, one of many Haggard compositions that the Hag never got around to releasing as a single (many years later Suzy Bogguss released it as a single). It works well as a duet for Porter and Dolly.
Somewhere between your heart and mine
There’s a window, I can’t see through T
here’s a wall so high, it reaches the sky
Somewhere between me and youI love you so much, I can’t let you go
And sometimes I believe you love me
But somewhere between your heart and mine
There’s a door without any key
The album closes with a pair of Dolly Parton compositions in “The Party” and “I Can”. “The Party” is another one of those morbid ballads that Dolly seemed to crank out so easily. The highlight of the song is Porter’s narration:
The party started out wild and it grew wilder as the night wore on
With drinking laughing teling dirty jokes nobody thinkin’ of home
Then the stranger feeling came over me and it chilled me to the bones
And I told my wife that we’d better leave the party
Cause I felt that we were needed at home
As we rode along I got to thinking of how the kids that mornin’
Had asked if we would take them to church the next day
And how I’d put ’em off like I’d so often done
By sayin’ we’d probably get home too late
Then my thoughts were interrupted by the sound of sirens
As they cut through the still night air Then we turned down our street that’s when we saw the fire
The rest was like a nightmare
We took their little bodies to church the next day
Though we’d left the party early we still got home too late
“I Can” has the feel of folk music. Both of these two Dolly Parton compositions are good album tracks.
Porter and Dolly would record stronger albums as far as song quality is concerned, but of more importance than that was that this early in the game, they had their vocal style down pat. The production on the album sounds like Porter’s solo albums, but that’s a good thing.
Tracks
01. “Closer by the Hour” Al Gore 2:15
02. “I Washed My Face in the Morning Dew” Tom T. Hall 2:45
03. “Jeannie’s Afraid of the Dark” Dolly Parton 2:44
04. “Holding On to Nothin'” Jerry Chesnut 2:26
05. “Slip Away Today” Curly Putman 2:37
06. “The Dark End of the Street” Dan Penn, Chips Moman 2:15
07. “Just the Two of Us” Jerry Chesnut 2:36
08. “Afraid to Love Again” Jerry Chesnut, Theresa Beaty 1:53
09. “We’ll Get Ahead Someday” Mack Magaha 1:55
10. “Somewhere Between” Merle Haggard 2:13
11. “The Party” Dolly Parton 2:54
12. “I Can” Dolly Parton 2:06
Back in the days writing for The 9513 Blog, I would post occasional reviews on Amazon. We are republishing updated versions of some of those reviews here.
Give Buck Owens credit – he knew that the “freight train ” sound was growing a bit stale and he was willing to experiment. I’ve Got You On My Mind Again was the first album to feature background voices and strings, something he continued on the next studio album Tall Dark Stranger (both 1969). In 1971 Owens took a more contemporary turn with his Bridge Over Troubled Water album, which was recorded without fiddle or steel guitar and featured songs by the likes of Paul Simon and Donovan. Later in 1971 came Ruby and Other Bluegrass Specials.
Not exactly bluegrass in it’s instrumentation (marred by drums and organ) it nevertheless is a fun romp through eight bluegrass classics plus two from the Buck Owens catalogue recast as bluegrass. Both singles issued from the album, “Rollin’ In My Sweet Baby’s Arms” and “Ruby (Honey Are You Mad At Your Man)” went to #1 on the more sales-oriented Cashbox charts (Billboard had them at #2 and #3 respectively). The title cut was a hit the year before for the Osborne Brothers, so it was still fresh in the public memory as was “Rocky Top” the Osborne Brothers big hit from 1968. “Ole Slew Foot” was part of both the country and bluegrass repertoire and so was familiar to fans of both genres although the only hit on the song was by Porter Wagoner. “I Know You’re Married But I Love You Still” was one of the most requested tunes for the beloved bluegrass duo of Don Reno & Red Smiley. Of course, everyone knows “Uncle Pen”.
Owens didn’t stray too far from bluegrass with his next album Too Old To Cut The Mustard, with son Buddy Alan. but Owens never again returned to the genre after that. Good clean fun – equal emphasis on all three words.
Grade: A
My Kind of Country 