My Kind of Country

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

Tag Archives: Ronnie Milsap

Week ending 2/18/17: #1 singles this week in country music history

mark-620x4001957 (Sales):Young Love — Sonny James (Capitol)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Young Love — Sonny James (Capitol)

1967: Where Does The Good Times Go — Buck Owens (Capitol)

1977: Near You — George Jones & Tammy Wynette (Epic)

1987: How Do I Turn You On — Ronnie Milsap (RCA)

1997: It’s a Little Too Late — Mark Chesnutt (Decca)

2007: Watching You — Rodney Atkins (Curb)

2017: Better Man — Little Big Town (Capitol)

2017 (Airplay): Star of the Show — Thomas Rhett (Valory)

Album Review: Lari White – ‘Lead Me Not’

lari-whiteLead Me Not was Lari White’s debut album, released in 1993 on the RCA label. This was Lari’s second stab at major label stardom as her prize for winning the television talent show Star Search in 1988 was a recording contract with Capitol Records.

Unfortunately the single released on Capitol (“Flying Above the Rain”) went nowhere and she was released by Capital . A person of many talents, including songwriting, Lari marked time by joining Ronnie Milsap’s publishing house, took acting lessons and performed in local theatre productions. In 1991 after attending an ASCAP showcase Rodney Crowell invited her to perform in his band. White signed to RCA, which brings us to this album, which Rodney Crowell produced.

Lead Me Not spotlights Lari’s vocal prowess and her talents as a songwriter as Lari wrote or co-wrote eight of the ten tracks on the album. The album only reached #36 on Billboard’s Heat Chart and missed charting on the Country Albums chart; however, all three of the singles released charted country (none cracked the top forty).

The album opens up with “Itty Bitty Single Solitary Piece of My Heart’, a co-write with John Rotch. The title sounds as if it would be a novelty number, but the song is actually a bluesy ballad warning off a would-be suitor. Jerry Douglas on dobro is featured prominently in the arrangement.

Chorus:

So you won’t get a taste of this, not even a kiss
The fact that your middle name is heartache is no coincidence
You made a livin’ out of lovin’ and leavin’ ‘em to fall apart
So now you better understand youi’ll never lay one hand on one
Itty bitty little single solitary piece o’ my heart

Next up is “Just Thinking” a romantic piece of cocktail jazz, written by Lari, and one that perhaps would have made a good single is pushed to another genre such as Lite Jazz or Adult Contemporary. Bergan White (no relation) arranged the string accompaniment as provided by the Nashville String Machine.

“Lay Around and Love On You” was written by Bobby David and David Gillon. Released as the third single, the song reached #68 on the country charts. The song isn’t remotely country having a strong New Orleans R&B vibe. It’s a great song, and if released during the mid 1970s or early 1980s, likely would have been a hit.

Time for me to go to work again
But all I want to do is
Lay around and love on you
Seven thirty, but I don’t care
What you’re doing is gonna keep me here
‘Cause all I want to do is
Lay around and love on you

Lay around and love
Lay around and love on you
You’ve got me so turned on
Honey, I can’t turn you loose
Hope nobody calls
Got the phone off the hook
We’re gonna try everything in the book
All I want to do is
Lay around and love on you

“Lead Me Not” was the second single from the album. Written by Lari, the song has a strong gospel feel to the arrangement, not surprisingly since the title is a play on a familiar religious theme. Nice saxophone work by the appropriately named Jim Horn is the highlight of the arrangement.

Well, I should have been home hours ago
I always lose track of the time
I’ll just hold up this wall while I try to recall
A thought from the back of my mind
Oh yeah I remember, it began with a wink
When you caught me looking at you

So don’t ask me if you can buy me a drink
I know what you’re trying to do
Lead me not into temptation
I already know the road all too well
Lead me not into temptation
I can find it all by myself

This is followed by another Lari White solo composition “Made To Be Broken” a lovely, well performed easy-listening ballad.

“What A Woman Wants” was the first single and biggest hit on the album reaching #44. Lari co-wrote this with soon-to-be husband Chuck Cannon (they married in 1994 and are still married, with two daughters). This song deals with the changing roles in society and the effort to try to explain to men what women today want. The song is taken at a quick tempo, and frankly I am surprised that the song wasn’t a bigger hit.

Come here darlin’, let me whisper in your ear
A precious little secret that I think you need to hear
With the way the women’s movement’s always making the news
I can see how a man might get confused
Now a woman doesn’t mind a man holding the door
But slaving in some kitchen ain’t what God made a woman for
We’ve come a long way baby, but way down deep we’re still the same
What a woman wants will never change

What a woman wants is to be treated like a queen
By a man who deserves to be treated like a king
What a woman wants, what keeps her holding on
Is a loving man who understands what a woman wants

The seventh track features a Suzi Ragsdale and Verlon Thompson composition “Anything Goes”. The song has a definite Mexican flair. Verlon’s career as a recording artist never took off, but he remains a prominent songwriter and instrumentalist.

It took until track eight to reach a song that I would regard as truly being country music, that song being “When The Lights Are Low”, a song Lari co-wrote with Chris Waters (bother of Holly Dunn). This song features classic steel guitar work by Tommy Spurlock, fiddle by Jonathan Yudkin and a great vocal by Lari. The song is a prototypical country ballad with lyrics any fans of traditional country music could enjoy and should have been released as the first single. While I don’t know whether or not this would have been a big hit at radio, at least it would have pegged Lari as a legitimate country artist. As it was, if I were a DJ dealing with Lari’s first three RCA singles, I would not known how to classify her (Con Hunley had the much same problem fifteen years earlier).

In the dark I’m just part of the crowd
It’s hard to tell who it is I’m there without
In some tall stranger’s arms
Your memory’s not so clear
I can cry all night long
‘Cause no one sees the tears
Where the lights are low

Where the jukebox plays
The saddest song it knows
Through a smoky haze
Since you’ve been gone
That’s where I go
‘Cause everything looks better
Where the lights are low

Lari collaborated with her future husband again on “Don’t Leave Me Lonely”, another easy listening/adult contemporary ballad. It’s a nice song, well sung but again not especially country. As on track two, Bergan White arranged the string accompaniment as provided by the Nashville String Machine.

The album closes as it began, with a Lari White – John Rotch collaboration in “Good Good Love”. As with the opening number with is a bluesy R&B tinged ballad, with gospel overtones in the production.

If you want a good good love
Hold on when the times are bad
‘Cause if you jump ship when trouble hits
Good for nothin’ is all you’ll have
You gotta anchor down in the winds of doubt
You can’t give in and you can’t bail out
If the water’s high hold your head above
And hang on for that good good love

When love sets sail it’s always a sunny day
And when the skies are blue it’s so easy to make love stay
But when the clouds roll in and the ship begins to strain
You gotta try a little harder
Go on, test the water
‘Cause the air is so much sweeter
After a real good rain

This album features a bewildering array of instruments: bells, bongos, cowbells, dobro, fiddle – you name it, it is probably on here somewhere.

I purchased the album on the recommendation of a friend. I really liked the album but I wasn’t sure where to place it in my collection, finally settling on filing it with my pop/rock/ R&B records. Lead Me Not is a very good album that I would not hesitate to recommend as fans of varying forms of music can find things to like about this album. On this album Lari White reveals herself as a very talented songwriter and vocalist, albeit one not easily pigeonholed. Her breakthrough would occur on her next album, and wouldn’t last long but her music is worth the search.

I would give this album an A-

She still performs and maintains a website where you can purchase most of her music.

Week ending 2/4/17: #1 singles this week in country music history

220px-danseals-21957 (Sales):Singing the Blues — Marty Robbins (Columbia)

1957 (Jukebox): Singing the Blues — Marty Robbins (Columbia)

1957 (Disc Jockeys): Young Love — Sonny James (Capitol)

1967: There Goes My Everything — Jack Greene (Decca)

1977: Let My Love Be Your Pillow — Ronnie Milsap (RCA)

1987: You Still Move Me — Dan Seals (EMI America)

1997: Nobody Knows — Kevin Sharp (Asylum)

2007: Watching You — Rodney Atkins (Curb)

2017: Blue Ain’t Your Color — Keith Urban (Capitol)

2017 (Airplay): Guy With A Girl — Blake Shelton (Warner Bros.)

Album Review: Crystal Gayle – ‘Miss the Mississippi’

5174w-nuyal1979 saw a big shift in the direction of Crystal Gayle’s music when she switched record labels. Although she continued to work with producer Allen Reynolds, she delved even further into pop territory from the get go. Her first single for Columbia was “Half the Way”, which was her biggest hit for the label. Although it just missed the top spot on the Billboard country charts (peaking at #2), it landed at #15 on the Billboard Hot 100 (her final entry in the Top 20 of that chart) and #9 on the AC chart. The song is undeniably catchy, but does not sound even remotely country, although at least one its writers had solid country credentials. Ralph Murphy, a British born Canadian songwriter, penned the tune with Bobby Wood. The duo also wrote “He Got You” which was a hit for Ronnie Milsap the following year. Murphy had also written Jeannie C. Riley’s “Good Enough to Be Your Wife” and would go on to write hits for Randy Travis, Kathy Mattea, Don Williams and others and would eventually be inducted into the Canadian Country Music Hall of Fame. “Half the Way” was Crystal’s biggest hit on the pop charts after “Don’t It Make My Brown Eyes Blue” and set the tone for the sound of her music for the rest of her tenure with Columbia.

The second single from Miss the Mississippi was “It’s Like We Never Said Goodbye”, an uptempo number with a lush string arrangement. It reached #1 on the country chart and #17 on the AC chart but only reached #63 on the Hot 100 chart. Like “Half the Way”, it is barely country but irresistibly catchy. The more stripped-down ballad “The Blue Side” was the final single, charting at #8 country, #16 AC and #81 Hot 100.

Another tune that most people old enough to remember this era will recognize is the mid tempo pop number “Don’t Go My Love” written by James Valentini and Frank Saulino. Crystal never released it as a single but I definitely remember hearing it played on MOR radio stations, although I don’t know who the artist was. My research — admittedly very limited — shows that the song was recorded by a Greek singer named Nana Mouskouri who enjoyed quite a few international hits. Again, the song is a bit of an ear worm, but there’s nothing country about it.

Balancing out all this pop are a handful of songs that are more country in nature, at least by late 70s standards. Crystal does a capable job on “Dancing the Night Away” which had been a Top 20 country hit for Tanya Tucker in 1977. “Room for One More” is another one with appeal for country fans, and the concluding track is an exquisite reading of “Miss the Missippi and You”, which is far more polished than anything Jimmie Rodgers probably ever imagined.

Miss the Mississippi is not an album for everyone. If you’re looking for hardcore country it’s best to give it a miss. However, it provides an interesting glimpse at the direction country music was taking in the late 70s — and why there was the eventual backlash known as the New Traditionalist movement in the 1980s. Even though it’s not very country, I enjoyed listening to it.

Grade: B+

EP Review: J.P. Harris (with Nikki Lane, Kristina Murray, Kelsey Waldon and Leigh Nash) – ‘Why Don’t We Duet In The Road’

jpharris_duet_largeweb_1024x1024J.P. Harris, whose sound is described as ‘booming hippie-friendly honky-tonk,’ found the inspiration for Why Don’t We Duet In The Road in the collaborative spirit of Nitty Gritty Dirt Band’s seminal Will The Circle Be Unbroken. The EP finds Harris covering iconic duets with some of Nashville’s most innovate female singer/songwriters, in an effort to bottle his experiences in Music City with a record aimed at prosperity over commercial viability.

Harris hunkered down in Ronnie Milsap’s former studio to record the four-track album, which he self-produced in a single six-hour session. What resulted is rough around the edges, fueled by twangy guitars and a gorgeous interpretation of outlaw country.

No one better exemplifies the modern outlaw spirit than Nikki Lane, who burst onto the scene in 2011 blending rockabilly and honky-tonk. She teams with Harris on “You’re The Reason Our Kids are Ugly,” which finds the pair embodying the spirit of Conway Twitty and Loretta Lynn’s 1978 original. Harris’ choice of Lane to accompany him is a smart one. You can hear her ballsy grit as she uses her smoky alto to channel Lynn’s feisty spirit without sacrificing her distinct personality.

The least familiar of Harris’ collaborators is likely Americana darling Kristina Murray, who joins him for an excellent reading of George Jones and Tammy Wynette’s “Golden Ring.” The pair is brilliant together, with Murray emerging as a revelation with her effortless mix of ease and approachability. I quite enjoyed the arrangement, too, which has the perfectly imperfect feel of a band completely in sync with one another.

Harris is the star on “If I Was A Carpenter,” which finds him with the criminally underrated Kelsey Waldon. Her quiet assertiveness, which could’ve used a touch more bravado, is, unfortunately, no match for his buttery vocal. Waldon’s contributions are by no means slight; he’s just magnetic.

The final selection, Dolly Parton and Porter Wagoner’s “Better Move It On Home,” finds Harris with the most recognizable vocalist of the bunch, Leigh Nash. She’s best known as the lead singer of Sixpence None The Richer, the band that hit #2 on the Billboard Hot 100 with the iconic “Kiss Me” in 1998. She’s since gone on to a solo career, which includes a country album released in September 2015. She taps into that grit here, and erases any notion of her pop sensibilities, but proves she doesn’t quite measure up to Parton on the 1971 original. The pair had an uphill battle ahead of them from the onset and they didn’t quite deliver.

That being said Why Don’t We Duet in the Road is a fantastic extended play highlighting five uniquely talented vocalists. If country artists continue to churn out releases of this high a quality than 2017 is going to be a very good year, indeed.

Grade: A

NOTE: Why Don’t We Duet in the Road is offered as a random colored double 7” limited to 500 copies, which as of press time are about halfway to sold out. Rolling Stone Country also has the tracks accessible for streaming, which I highly recommend. The EP is also available on iTunes as of January 6.

Week ending 10/1/16: #1 singles this week in country music history

10751524064_de215b568c_b1956 (Sales): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

1956 (Jukebox): Don’t Be Cruel/Hound Dog — Elvis Presley (RCA)

1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)

1966: Almost Persuaded — David Houston (Epic)

1976: If You’ve Got the Money, I’ve Got the Time — Willie Nelson (Columbia)

1986: In Love — Ronnie Milsap (RCA)

1996: So Much For Pretending — Bryan White (Asylum)

2006: Give It Away — George Strait (MCA)

2016: Peter Pan — Kelsea Ballerini (Black River)

2016 (Airplay): Different For Girls — Dierks Bentley featuring Elle King (Capitol)

Week ending 9/10/16: #1 singles this week in country music history

Michelle Branch, Jessica Harp, The Wreckers The Wreckers Photo Shoot JPI Studios West Hollywood 4/17/06 ©John Paschal/jpistudios.com 310-657-9661

Michelle Branch, Jessica Harp, The Wreckers
The Wreckers Photo Shoot
JPI Studios
West Hollywood
4/17/06
©John Paschal/jpistudios.com
310-657-9661

1956 (Sales): Crazy Arms — Ray Price (Columbia)

1956 (Jukebox): I Walk The Line/Get Rhythm — Johnny Cash (Sun)

1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)

1966: Almost Persuaded — David Houston (Epic)

1976: (I’m a) Stand By My Woman Man — Ronnie Milsap (RCA)

1986: Desperado Love — Conway Twitty (Warner Bros.)

1996: She Never Lets It Go to Her Heart — Tim McGraw (Curb)

2006: Leave the Pieces — The Wreckers (Maverick)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): Make You Miss Me — Sam Hunt (MCA)

Week ending 9/3/16: #1 singles this week in country music history

Rodney_Atkins1956 (Sales): Crazy Arms — Ray Price (Columbia)

1956 (Jukebox): I Walk The Line/Get Rhythm — Johnny Cash (Sun)

1956 (Disc Jockeys):Crazy Arms — Ray Price (Columbia)

1966: Almost Persuaded — David Houston (Epic)

1976: (I’m a) Stand By My Woman Man — Ronnie Milsap (RCA)

1986: Heartbeat in the Darkness — Don Williams (Capitol)

1996: She Never Lets It Go to Her Heart — Tim McGraw (Curb)

2006: If You’re Goin’ Through Hell (Before the Devil Even Knows) — Rodney Atkins (Curb)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): From the Ground Up — Dan + Shay (Warner Bros.)

Week ending 6/11/16: #1 singles this week in country music history

6ed60564e3c8840a18860e94616bbd651956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: Distant Drums — Jim Reeves (RCA)

1976: One Piece at a Time — Johnny Cash (Columbia)

1986: Happy, Happy Birthday Baby — Ronnie Milsap (RCA)

1996: Blue Clear Sky — George Strait (MCA)

2006: Settle For a Slowdown — Dierks Bentley (Capitol)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): Came Here To Forget — Blake Shelton (Warner Bros.)

Week ending 5/21/16: #1 singles this week in country music history

Academy+Country+Music+Awards+Artist+Decade+6KPcHTfeigAl1956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: Distant Drums — Jim Reeves (RCA)

1976: What Goes On When the Sun Goes Down — Ronnie Milsap (RCA)

1986: Ain’t Misbehavin’ — Hank Williams, Jr. (Warner Bros./Curb)

1996: My Maria — Brooks & Dunn (Arista)

2006: Wherever You Are — Jack Ingram (Big Machine)

2016: H.O.L.Y. — Florida Georgia Line (Republic Nashville)

2016 (Airplay): Somewhere on a Beach — Dierks Bentley (Capitol)

Classic Rewind: Ronnie Milsap – ‘That Girl Who Waits On Tables’

Classic Rewind: Ronnie Milsap – ‘Day Dreams About Night Things’

Album Review: Rhonda Vincent – ‘Christmas Time’

rhonda vincent christmas timeRhonda Vincent’s music is always worth hearing, so I was keen to hear her new Christmas album. The tasteful acoustic arrangements are bluegrass at its most mellow, with nothing really up-tempo or challenging. The musicians all play impeccably, with Stuart Duncan’s fiddle in particular shining, supplemented on a few tracks by additional strings. Rhonda’s lovely voice is crystal clear and expressive throughout.

Rhonda wrote four brand new songs. The opening ‘Dreaming Of Christmas’ sets the mood nicely with an upbeat depiction of a family celebration. The pleasant ‘Christmas Time At Home’ is on a similar theme. The melancholy title track is a melodic ballad about missing a loved one no longer there to share the joys of Christmas. The ultra-perky ‘Milk And Cookies’ is as up-tempo as the album gets, and rests right on that fine line between fun and annoying, falling over the latter edge at the end when she pops in a product placement for her long time sponsor Martha White.

The most memorable track is a bright and irresistible version of ‘The Twelve Days Of Christmas’, featuring a starry lineup comprising the Oak Ridge Boys, Willie Nelson, Charlie Daniels, an instantly recognisable Bill Anderson whispering the “nine ladies dancing” line, an equally recognisable Dolly Parton, Ronnie Milsap (not recognisable), Gene Watson, Larry Gatlin, a sweet trio of Jeannie Seely, Lorrie Morgan and Pam Tillis (on “three French hens”), and child singer Emi Sunshine. This is not usually one of my favorite Christmas songs, but the effervescent mood is absolutely charming.

The other well known secular tune included is ‘Jingle Bells’, which rattles along genially with some super fiddle.

A number of well worn carols fill out the remainder of the tracklist, starting with a reflective reading of ‘Angels We Have Heard On High’. A straightforward reading of ‘God Rest Ye Merry Gentlemen’ is also nice, with a string quartet accompaniment. ‘Away In A Manger’, ‘Silent Night’ and ‘O Little Town Of Bethlehem’ are all beautifully done, but do we really need another version of any of them? Rhonda obviously had difficulty narrowing down her selection of material, because she closes up with a medley of a further seven carols apparently strung together at random, accompanied by solo piano. Standing out among these is an intense vocal on ‘O Holy Night’ and the choice of ‘Hark The Herald Angels Sing’. Maybe she should have hived this medley off into a completely separate EP.

So this is a lovely sounding bluegrass/acoustic country album, but not necessarily an essential purchase if you’ve already got a lot of Christmas music in your collection.

Grade: B

Classic Rewind: Glen Campbell – ‘Faithless Love/Amazing Grace’ ft Ronnie Milsap

Week ending 10/10/15: #1 singles this week in country music history

3083681a48b5595e5d698891a99a8c9f1955 (Sales): The Cattle Call/The Kentuckian Song — Eddy Arnold (RCA)

1955 (Jukebox): I Don’t Care — Webb Pierce (Decca)

1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)

1965: Behind The Tear — Sonny James (Capitol)

1975: Blue Eyes Crying In The Rain — Willie Nelson (Columbia)

1985: Lost in the Fifties Tonight (In The Still of the Night) — Ronnie Milsap (RCA)

1995: I Like It, I Love It — Tim McGraw (Curb)

2005: Something To Be Proud Of — Montgomery Gentry (Columbia)

2015: Strip It Down — Luke Bryan (Capitol)

2015 (Airplay): Save It For a Rainy Day — Kenny Chesney (Blue Chair/Columbia)

Week ending 10/3/15: #1 singles this week in country music history

milsap-21955 (Sales): I Don’t Care — Webb Pierce (Decca)

1955 (Jukebox): I Don’t Care — Webb Pierce (Decca)

1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)

1965: Only You (Can Break My Heart) — Buck Owens (Capitol)

1975: Daydreams About Night Things — Ronnie Milsap (RCA)

1985: Lost in the Fifties Tonight (In The Still of the Night) — Ronnie Milsap (RCA)

1995: I Like It, I Love It — Tim McGraw (Curb)

2005: A Real Fine Place To Start — Sara Evans (RCA)

2015: Strip It Down — Luke Bryan (Capitol)

2015 (Airplay): Save It For a Rainy Day — Kenny Chesney (Blue Chair/Columbia)

Week ending 9/26/15: #1 singles this week in country music history

1955 (Sales): I Don’t Care — Webb Pierce (Decca)

forester1955 (Jukebox): I Don’t Care — Webb Pierce (Decca)

1955 (Disc Jockeys): I Don’t Care — Webb Pierce (Decca)

1965: Is It Really Over — Jim Reeves (RCA)

1975: Daydreams About Night Things — Ronnie Milsap (RCA)

1985: I Fell In Love Again Last Night — The Forester Sisters (Warner Bros.)

1995: I Like It, I Love It — Tim McGraw (Curb)

2005: A Real Fine Place To Start — Sara Evans (RCA)

2015: House Party — Sam Hunt (MCA)

2015 (Airplay): Crash and Burn — Thomas Rhett (Valory)

Album Review: Waylon Jennings – ‘The Taker/Tulsa’

the taker tulsaThe double-titled 1971 album The Taker/Tulsa was released in 1971. Waylon was starting to take control over his music, and this was the first album he produced himself. The songs are full of substance and the arrangements solid.

Both the title tunes were singles. ‘The Taker’ was a significant hit, peaking at #5. This excellent song (written by Kris Kristofferson and Shel Silverstein) is a perceptive depiction of a charming man who ends up hurting the woman who loves him:

He’s a talker
He’ll talk her right off of her feet
But he won’t talk for long
‘Cause he’s a doer, and he’ll do her
The way that I’d never
Damned if he won’t do her wrong.

He’s a taker
He’ll take her to places and make her
Fly higher than she’s ever dared to
He’ll take his time before takin’ advantage
Takin’ her easy and slow

And after he’s taken the body and soul she gives him
He’ll take her for granted
Take off and leave her
Takin’ all of her pride when he goes.

It was one of no less than four outstanding songs written by Kristofferson, then a relative newcomer to Nashville, and which help to make the album as a whole cohesive. Waylon’s version of the regretful ‘Sunday Mornin’ Comin’ Down’, a very recent hit for Johnny Cash, is convincing, with the song well suited to him. Less well known at the time, but at least as much of a classic today, was ‘Lovin’ Her Was Easier (Than Anything I’ll Ever Do Again)’, which Kristofferson was about to make a hit of in his own right. Waylon’s version is as good as any of this modern standard.

The least familiar of the Kristofferson songs for most listeners (although it has still been recorded a number of times) is ‘Casey’s Last Ride’, which may be the only country songs to be set on the London Underground, and may have been written when Kristofferson was studying at Oxford in the late 1950s, although the gloomy melody sounds to me to be influenced by the Beatles and other British 60s artists, which would place its composition later.

The second title song, ‘(Don’t Let The Sun Set On You) Tulsa’ is a dramatic story song written by Wayne Carson, it might be a kind of sequel to ‘The Taker’, with the protagonist championing the girl he loves, who has been abandoned and left pregnant by another man:

Jamie is the only thing I ever really cared for
She don’t deserve this kind of shame
She’s carryin’ the child that you’re to blame for
You just laughed and said
There ain’t no way it’s gonna get your name
I swore I’d get you for what you’re puttin’ her through
And the only reason I ain’t got you
Jamie cried and begged me not to
But I ain’t through with you yet
Don’t let the sun set on you in Tulsa

It’s a fine song which was a top 20 hit for Waylon, and should be better known. The last single, another top 20 hit, was Red Lane’s ‘Mississippi Woman. A brooding tale of jealousy, the narrator spies on, and eventually murders, the object of his affections.

The powerful ‘Six White Horses’ (not the Tommy Cash hit but another song with the same title, written by Bobby Bond), voices the fears of a soldier’s (blind) father for his boy:

Read again the letter that tells me where he’s gone
To hell with the fighting, I want my son home

I taught him to fish and I taught him to be strong
Taught him that killing any man was wrong
But tomorrow in battle I’d run to where he stood
If the help of a blind man would do any good

Last night I went to his room for a while
Touched all the things that he used as a child
I rocked the cradle where he used to lay
I found his tin soldiers and threw them away

Also downbeat in mood is ‘Grey Eyes You Know’, a string-laden lament by a bereaved husband for the beloved wife who stood by him through all the bad times.

A brisk cover of Don Gibson’s ‘(I’d Be) A Legend In My Time’ does not work as well for me as either the original or Ronnie Milsap’s big hit a few years later. Waylon write one song, the post-breakup ‘You’ll Look For Me’, which is quite good but not that memorable.

Overall this was an excellent album which shows Waylon stretching himself and asserting himself as an artist.

Grade: A

My reissues wish list – part 1: Kapp, Mercury and Plantation/Sun

portergibson

roger millerIt should be no surprise to anyone that my tastes in country music run very traditional. While much of the music of the “New Traditionalists” movement of 1986-1999 remains available, as it should since it was digitally recorded, the music of the “Old Traditionalists (roughly 1925-1975) is another story.

When radio converted to digital starting in 1986, most radio stations, particularly FM stations, refused to play anything that was not on compact disc. As a result, a country oldie to these stations meant Alabama, Crystal Gayle, Ronnie Milsap and Kenny Rogers (artists whose back catalogue made it to digital formats) while the likes of such superstars as Charley Pride, Sonny James, Ray Price, Carl Smith, Ernest Tubb and Webb Pierce were lost to posterity.

Over time, the older country music began to be available, although often the availability was that of a four plus discs sets from Bear Family that was decidedly overkill for all but the most diehard fans. I am not knocking Bear, which in recent years has begun to issue some single disc collections. The Bear sets are as good as humanly imaginable, terrific sound, fabulous books and many of the discs have 85-87 minutes of music. They are great, but they run $22-$25 per disc.

Eventually more reissue labels emerged, mostly in Europe where the copyright laws had copyright protection lapse after fifty years. This changed recently to 70 years resulting in slowdown in reissues. I think recordings made in 1963 or later have the new 70 year copyright protection.

American record labels started to mine their back catalogues after 1991, but generally only for their biggest stars. A number of decent box sets have been issued, but again, only on the biggest stars.

Enough with my complaining – let’s start with a couple of relatively minor labels, in the first of a new series.

KAPP RECORDS

Kapp was a minor label that was eventually purchased by MCA. The biggest star on the label was pop balladeer Jack Jones, truly a fine singer. In the world of country music it was more of a launching pad for new artists and a resting place for over-the-hill singers.

Bobby Helms (“My Special Angel” & “Fraulein“) was on the label after his pop success waned. One could put together a nice CD of his Kapp recordings.

After many years of knocking about, Freddie Hart landed on Kapp. While I regard Freddie’s Kapp material as his best, he really had no big hits. Eventually Hart landed at Capital where “Easy Loving” made him an ‘overnight’ star. Kapp issued six albums on Freddie Hart, plus a hits collection. The six studio albums probably could fit on a nice two CD set

Mel Tillis released nine albums (plus two hit collections) while on Kapp. It’s not his best material but there were some classic songs (“Ruby Don’t Take Your Love To Town” / “Something Special” / “All Right (I’ll Sign The Papers)” / “Who’s Julie” / “Goodbye Wheeling” / “Life Turned Her That Way” / “Stateside“/ “Heart Over Mind“) that were as good as anything he ever recorded elsewhere, A nice set with about sixty songs would suffice.

Ernest Tubb was sure that Cal Smith would be a star someday. Someday was about six years later. Meanwhile Kapp released seven albums plus a hits collection on Cal. One of Cal’s Kapp hits (“Drinking Champagne” would be a big hit for George Strait many years later. After a long wait, a decent collection of Cal’s MCA/Decca hit eventually emerged but none of his Kapp classics are available. Cal had some really good songs including “Drinking Champagne”, “You Can’t Housebreak A Tomcat“, “Destination Atlanta G.A“, and “Heaven Is Just A Touch Away“.

MERCURY RECORDS

Foreign labels have done a good job of getting Jerry Lee Lewis and Tom T. Hall back into circulation, but Dave Dudley and Roy Drusky have been badly neglected. Mercury had an additional label, Smash, but artists occasionally moved from Smash to Mercury in midstream.

Mercury released eighteen albums plus three hits collections on Dave Dudley and all we have available is one stinking CD collection with twelve songs on it, two of the tracks being remakes of “Six Days On The Road” and “Cowboy Boots”. Dave had thirty-one chart hits for Mercury. C’mon, if nothing else a nice two CD set with the thirty-one chart hits plus some key album cuts. The King of The Truckers deserves no less – so beloved by truck drivers was Dave that the Teamsters Union gave Dave a gold union membership card.

Roy Drusky was a smooth voiced balladeer who had over forty chart records, eight with Decca and thirty two with Mercury. Same comment applies to Ray as applies to Dave Dudley – a nice two disc set is needed.

Roger Miller may have been the most talented performer to ever record in the country music genre. Roger barely even need a guitar to keep folks entertained. Back in 1991 & 1992 Polygram (the label that purchased Mercury ) issued a pair of two twenty song CDs, one featuring songs Roger wrote that were hits for other artist and the other featuring Roger’s hits. Eventually a modest boxed set was issued, but those are long out of print. Although they were good efforts, Roger’s albums deserve to be reissued intact.

PLANTATION/SUN INTERNATIONAL

During the late 1960s – early 1970s, Plantation became kind of an old folks’ home for country artists on the way down. Many a fading star re-recorded their greatest hits for label owner Shelby Singleton. For many of these older artists, it was the only way for them to keep their music available for their fans. Webb Pierce, Jimmie Davis, Jimmy C. Newman, Hank Locklin, Charlie Walker, Kitty Wells, Dave Dudley and Roy Drusky were among the artists that had twenty song cassettes issued, and for some artists, there was some new material recorded. I don’t think Plantation has much more than thirty or so songs recorded for these veteran artists (except Webb Pierce), so they should just take everything they have on a given artist and issue a CD. True, the original recording were better but all of these recordings were at least decent.

I do not pretend that this is an exhaustive list as there are many more artists whose artistry justifies more than is currently available. I noticed that Country Universe recently posted a Wish List segment on their Daily Top Five Feature. This series was not inspired by their article as I had this nearly completed before they posted their feature.

Week ending 7/4/15: #1 singles this week in country music history

Ronnie-Milsap-inductee-photo1955 (Sales): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Jukebox): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Disc Jockeys): Live Fast, Love Hard, Die Young — Faron Young (Capitol)

1965: Before You Go — Buck Owens (Capitol)

1975: Tryin’ To Beat The Morning Home — T.G. Sheppard (Melodyland)

1985: She Keeps The Home Fires Burning — Ronnie Milsap (RCA)

1995: Sold (The Grundy County Auction Incident) — John Michael Montgomery (Atlantic)

2005: Fast Cars and Freedom — Rascal Flatts (Lyric Street)

2015: Girl Crush — Little Big Town (Capitol)

2015 (Airplay): Love Me Like You Mean It — Kelsea Ballerini (Black River Entertainment)