My Kind of Country

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

Tag Archives: Richard Bailey

Album Review: Kenny Rogers – ‘She Rides Wild Horses’

When She Rides Wild Horses was released in 1999, his first release on Dreamcatcher, it had been a decade since Kenny had a top ten country album or a top ten country song, and fifteen years since a Kenny Rogers song had hit the top forty of the Billboard Hot 100 singles chart, so it is hard to believe that expectations were that high for this album, especially since Kenny had turned 61 years old, an antique as far as the increasingly youth oriented music world was concerned.

Dreamcatcher was Kenny’s own label and perhaps his proprietary interest in the label sparked renewed life in his recording career. While not a great album, the album did feature some very interesting songs that led to a mild resurgence in Kenny’s career, reaching #6 on the Country albums chart, and selling platinum, the last Kenny Rogers album to do so (and the first one in fifteen years).

The album opens with “Slow Dance More”, a nice mid-tempo homily to the virtues of appreciating one’s family. The song was the second single released from the album, reaching #67 on the country chart. This is the most country sounding song on the album with Russ Pahl on steel guitar, Jonathan Yudkin on fiddle and Richard Bailey on banjo (the only appearance for any of them on these instruments – Bruce Bouton would do the rest of the steel guitar on the album.

Grady Johnson was a common man
Four children and some bottom land
Early to bed, he said, “well that ain’t me
I gotta spend some time with my family
Left to its own device, May becomes June
But children grow up way too soon

[Chorus]
So love your neighbor as yourself
Don’t use money to measure wealth
Trust in God but lock your door
Buy low, sell high and slow dance more”

This is followed by “Buy Me A Rose”, the third single and a surprise #1 country hit that also cracked the top forty on the Hot 100 chart. This was Kenny’s first #1 on any chart since 1987. “Buy Me a Rose” is a ballad, the story of a husband who attempts to please his wife with material objects, such as a “three-car garage and her own credit cards“, before realizing that it is the little things and gestures that truly matter.

The song features Billy Dean and Alison Krauss singing background.

He works hard to give her all he thinks she wants
A three car garage, her own credit cards
He pulls in late to wake her up with a kiss good night
If he could only read her mind, she’d say:

“Buy me a rose, call me from work
Open a door for me, what would it hurt
Show me you love me by the look in your eyes
These are the little things I need the most in my life”

Now the days have grown to years of feeling all alone
And she can’t help but wonder what she’s doing wrong
Cause lately she’d try anything to turn his head
Would it make a difference if she said:

“Buy me a rose, call me from work
Open a door for me, what would it hurt
Show me you love me by the look in your eyes
These are the little things I need the most in my life”

Next up is “I Will Remember You” written by Irish balladeer and musician Seamus Egan. This song is a very slow ballad that Kenny sings well.

Eric Kaz and Linda Thompson-Jenner penned “Love Don’t Live Here Anymore”, a slow ballad of breakup and heartache.

The title track “She Rides Wild Horses” written by Bob Corbin and Ted Hewitt, was not released as a single. Although laden with keyboards and strings, I think that the song would have made a good single if pushed toward Adult Contemporary market.

It’s just her and the band and the clean up man
She’s countin’ up her tips, she did alright
She says goodnight
She drives home to a three room flat
Checks her machine and she feeds the cat
She’s almost asleep
Before she turns out the light

In her dreams, she rides wild horses
And they carry her away on the wind
And they never make a sound
As they fly above the ground
Tonight she rides wild horses again

“The Kind of Fool That Love Makes” was written by Brenda Lee (yes, that Brenda Lee), Michael McDonald and Dave Powelson

Anyone can read the signs
Or the writing on the wall
It’s all right there to see
Except someone like me
Who can’t see the truth at all.

It takes a special kind of fool
To stand out in the rain
Somewhere in between
Nothing left to lose
And nothing to be gained.

What kind of fool does it take?
To go on loving alone
Like there’s some answer in the ruins
Some silver lining to be found.

An even bigger fool might think
You would care if my arm breaks
Before the time that I admit
I’m just the kind of fool love makes.

Tom Jans’ “Loving Arms” was already an oldie, having been recorded many times since released by Kris Kristofferson and Rita Coolidge in 1973. Dobie Gray had the biggest pop hit with the song in 1974 and Elvis hit the county top ten with his posthumous 1981 release. Kenny’s version is okay, but the slow tempo is too similar to the rest of the album.

If you could see me now
The one who said that he’d rather roam
The one who said he’d rather be alone
If you could only see me now

If I could hold you now
Just for a moment if I could really make you mine
Just for a while turn back the hands of time
If I could only hold you now

I’ve been too long in the wind, too long in the rain
Taking any comfort that I can
Looking back and longing for the freedom of my chains
And lying in your loving arms again

“I Can’t Make You Love Me,” was co-written by Allen Shamblin and Mike Reid and was a hit for Bonnie Raitt in 1981. The song is yet another slow ballad and is given a bland cocktail lounge arrangement that strips the song of any character.

Kenny recorded “Let It Be Me” with Dottie West for their album Classics. Tammy Fry sings the female harmony on this stringy ballad. This version does not compare well with his earlier rendition, and it is just another slow ballad.

The album closes with the fabulous Don Schlitz composition “The Greatest”. Although the song only reached #26 on the country singles chart, I suspect that the song reverberated with many male listeners and led them to seek out the album when it was released. I know that many times I was that little boy in the song, and I purchased the CD on the strength of this song alone without really caring about what was on the rest of the album.

Little boy, in a baseball hat
Stands in the field with his ball and bat
Says “I am the greatest player of them all”
Puts his bat on his shoulder and he tosses up his ball

And the ball goes up and the ball comes down
Swings his bat all the way around
The world’s so still you can hear the sound
The baseball falls to the ground

Now the little boy doesn’t say a word
Picks up his ball, he is undeterred
Says “I am the greatest there has ever been”
And he grits his teeth and he tries it again

And the ball goes up and the ball comes down
Swings his bat all the way around
The world’s so still you can hear the sound
The baseball falls to the ground

He makes no excuses, he shows no fears
He just closes his eyes and listens to the cheers

After a series of mediocre disappointing recordings, It was nice to see Kenny release a decent album. This isn’t a great album, and it isn’t very country, but it is good. Kenny is in good voice throughout, and several of the songs, especially the three released singles and the title track are outstanding. The album could stand some more variation in tempos, but as is, the album is worth a B

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Album Review: Nanci Griffith – ‘Intersection’

Much of Nanci Griffith’s work has tended to fall closer to the contemporary folk side of the border with country music, but regardless of genre, her music has been of consistently high quality.  Her 20th album is out now in the UK and Ireland where she is currently touring, and is set for release next month in the US on her own Hell No Records, distributed by Sony.  She has had a tough time in her personal life in the past few years, and the album is reportedly very personal.  Production was a joint effort by Nanci, Pete and Maura Kennedy, and Pat McInerney, with very few outside musicians being involved.

The catchy but abrasive ‘Hell No (I’m Not Alright)’ is angry handclapping protest-folk, and is the first single. Supposedly it is inspired by the Occupy protest movement, but while the official video portrays the latter, I cant detect any overt polical aspects at all in the lyrics. When the song stands on its own merits, it appears to be about a thoughtless man who has let the protagonist down in a personal relationship. Nanci’s personal views about the socio-political situation may have informed her sense of malaise, but standing on its own merits I don’t hear this as a political song at all. The seething anger she expresses at the man’s patronising response to her is universally relateable on a personal level:

Hell no, I’m not alright
You can talk all day and ask all night
Nothing’s gonna change, no end in sight
Hell no, I’m not alright

Did you really think it would be okay
To leave me stranded alone that day?
Did you really think you could wait so long
To call me up to see if you’re alright?

You’re on the bow and I’m alone
And when you’re alone you’re all alone
I’m still gone, it’s all the same
But I’m takin’ notes and I’m namin’ names

Am I the one to get you to forget
That the one is gone, is gone, is gone?
Am I supposed to say you’re okay?
Cause you’re not okay and you’re not okay

The insistently bluesy ‘Come On Up Mississippi’ is more political in the widest sense. It is very short, closking in just under twwo minutes and uses a small children’s choir with unusual restraint. Perhaps the most political song here, it’s an angry response to the poverty of the state of that name and a stirring call for solidarity from other Americans:

Come on up Mississippi
Come on up
I’m coming on up to you
And if only America knew
Of your poverty, your dirty streets, your children with their barefoot feet
They’d all be coming on up to you Missisippi…

Come on up Mississippi
America’s for you

The opening ‘Bethlehem Steel’ laments the closing of a Pennsylvania steelworks in the 1990s and its effect on the town that relied on the jobs it had provided.  She paints a detailed and atmospheric picture of “an American icon”, and a sympathetic portrait of a woman remembering childhood memories of the area’s past prosperity gives it a human face.  Ethereal backing vocals add to the elegaic mood.

The catchy but repetitive ‘Stranded In The High Ground’ was co-written by all four producers, and has a bright feel but doesn’t really go anywhere lyrically. Nanci also revives her own 20-year-old ‘Just Another Morning here’, with Eric Brace and Peter Cooper on harmony; it is on the folkier side of her repertoire and not one of her more interesting songs.

I enjoyed the surprisingly upbeat defiance of ‘Bad Seed’, written by Nanci and Maura about a deeply troubled father-daughter relationship. This is one of the overtly personal songs, with a scorching indictment of the man who has rejected her, with a twist of humor to leaven the soul searing honesty:

I look like him without the mustache
I’ll have that too if I live that long…

When I’m winning he knows me
When I lose I’m his bad seed
After all he told me
Nothing good would become of me
Now that I’ve gone crazy
With no love from my father
Am I the bad seed he always said I would be?

The title track’s mellow laidback sound underpins the resigned lyric about facing failure and having to move on:

It’s time to walk away though I’ll live to curse this day
Sometimes making the best is doing the worst to yourself
And I will not complain
It’s all still the same
I’ve had a hard life and I write it down
I’m at this intersection here between my hopes and dreams and fears
Traveling love boulevard on a green light

Hitting similar notes thematically, the pensive mid-tempo ‘Never Going Back’, written by Mark Seliger, reminisces gently about moving on from a restrictive neighbourhood. Nanci has always been willing to include other writers’ material alongside her own, and the songs selected from outside writers fit in well with her own material here. Blaze Foley’s mournfully beautiful ‘If I Could Only Fly’ is impeccably done. The gentle ‘Davey’s Last Picture’ (written by Robbin Bach and Betty Reeves) is a sensitive and touching tribute to a young firefighter killed on 9/11. Bach sings harmony on this track.

I particularly enjoyed an unexpected and very charming version of ‘Waiting On A Dark Eyed Gal’, written by Ron Davies (brother of Gail) and recorded some years ago by the Nitty Gritty Dirt Band. Nanci’s wistful version changes the song to make it a third person narration, and gives it an attractive acoustic arrangement. There is also a delightful hillbilly cover of a lesser known Loretta Lynn song, the joyful ‘High On A Mountain Top’, with the Steel Drivers’ Richard Bailey contributing rhythmic jangling banjo. This ends the album on a high note.

Grade: A