My Kind of Country

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

Tag Archives: Ronnie Milsap

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

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Classic Rewind: Ronnie Milsap – ‘Houston Solution’

Week ending 1/27/18: #1 singles this week in country music history

1958 (Sales): The Story of My Life — Marty Robbins (Columbia)

1958 (Disc Jockeys): The Story of My Life — Marty Robbins (Columbia)

1968: Sing Me Back Home — Merle Haggard (Capitol)

1978: Out of My Head and Back in My Bed — Loretta Lynn (MCA)

1988: Where Do The Nights Go — Ronnie Milsap

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Our SongTaylor Swift (Big Machine)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Yours — Russell Dickerson (Triple Tigers)

Week ending 1/20/18: #1 singles this week in country music history

1958 (Sales): The Story of My Life — Marty Robbins (Columbia)

1958 (Disc Jockeys): The Story of My Life — Marty Robbins (Columbia)

1968: Sing Me Back Home — Merle Haggard (Capitol)

1978: What A Difference You’ve Made In My Life — Ronnie Milsap (RCA)

1988: One Friend — Dan Seals (Capitol)

1998: Just To See You Smile — Tim McGraw (Curb)

2008: Our SongTaylor Swift (Big Machine)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): I Could Use A Love Song — Maren Morris (Columbia Nashville)

Album Review: Teea Goans – ‘Swing, Shuffle And Sway’

Continuing our catch-up of some of the great 2017 albums we didn’t get round to reviewing, the fourth album released by modern traditionalist and Opry favourite Teea Goans may be her best yet. Teea has an excellent clear, sweet voice, with strong emotional interpretative skills.

Much of the material consists of covers, but Teea avoids ground which is too well worn. One of the best known songs is a lovely cover of the Don Gibson-penned Ronnie Milsap classic ‘(I’d Be) A Legend In My Time’, which has a stunning vocal and classy arrangement led by steel guitar with some tasteful strings added in. Country standard ‘You Don’t Know Me’ is a perfect fit for Teea.

Teea’s version of the opener ‘Go Down Swingin’’ (originally a minor hit for the all-girl group Wild Rose in 1990) is on the jazzier side of western swing with a bit of scatting thrown in at the start. ‘Steel Guitar Rag’ is an old Bob Wills tune which Tees performs vivaciously.

Previously cut by Ray Price (one of Teea’s primary influences) and Gene Watson, ‘A Way To Survive’ is a great traditional country shuffle, with some lovely fiddle and steel. ‘Heart Over Mind’ is a fine Mel Tllis song which was a hit for him in 1970.

She recruits 90s star Mark Wills as her duet partner on a charmingly playful take on ‘It Ain’t Nothin’’, which completely reinvents the Keith Whitley hit. A mid-tempo Don Williams hit from the 1980s, ‘That’s The Thing About Love’ is more adult contemporary than country, but well sung. ‘Tell Me I’m Crazy’ is a ballad which was recorded in the 90s by both Dawn Sears and Shelby Lynne. Teea’s version has an innocent sweetness belying the desperation of the lyrics.

‘Just Because She Always Has’ is a delicately sung ballad offering a gentle warning to a neglectful but complacent husband that things might be about to change. This beautiful song may be my favorite track.

Churchy piano leads into the confident handclapping gospel of ‘I Know The Lord Will Stand By Me’. In a more contemporary style is the emotional ballad ‘Mercy walked In’.

This is an excellent album which I strongly recommend.

Grade: A+

Classic Rewind: Ronnie Milsap – ‘I Wouldn’t Have Missed It For The World’

Album Review: Conway Twitty – ‘Borderline’

Released in March 1987, Borderline marked Conway’s return to MCA after five year interlude with Elektra/Warner Bros. Frankly, other than the Lost In The Feeling album, I really had consistently disliked his recent output.

I received this album as a birthday present in April 1987. While I had high hopes for a return to the earlier Twitty sound my hopes were dashed when I read the back of the album and saw the following:

Musicians:

James Stroud – Drums
Emory Gordy, Jr. – Bass
John Jarvis – Piano
David Innis, Mike Lawler – Keyboards
Richard Bennett – Acoustic Guitar
Reggie Young, Fred Newll – Electric Guitar
Background Harmonies – Vince Gill and Conway Twitty

That’s right – no John Hughey, or any other steel guitar player for that matter.

My expectations suitably lowered I put the album on the turntable and played it. The album opened up with the first single release, John Jarvis-Don Cook song “Julia” which topped out at #2. This song is bland 80s ballad with cocktail lounge production. The song itself is not bad, but the production ruins it for me.

Brent Mason and Jim McBride collaborated on “Lonely Town”, a mid-tempo song about a one night stand. I would have picked this song as for single release. By the standards of this album, this was a country song

She gave into him last night
She thought he was Mr. Right
But he left like all the others
Before the morning came around

Same old story in lonely town
The sun comes up, the heart goes down
She’s tried everything she knows

Come so far and yet so close
She keeps searching for the magic
But it’s nowhere to be found
But that’s how it is in lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone

The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone
The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

Track three was “I Want To Know Before We Make Love” by Candy Parton and Becky Hobbs. Good advice no doubt – no point getting involved with a sociopath – but I think this song works better from the femine perspective. This song also reached #2.

Track four is the title track “Borderline” a decent song marred by cheesy 80s production. Walt Aldridge wrote this song. He wrote several #1 records for the likes of Earl Thomas Conley, Ronnie Milsap, Alabama and Travis Tritt.

Track five (the last track on side one of the vinyl album) concludes with “Not Enough Love To Go Around”  a slow R&B ballad that is nice but ultimately uninteresting.

Track six is “Snake Books”, written by Troy Seals. Troy wrote many great songs, but this wasn’t one of them. This is followed by “I’m For A While” by Kent Robbins, a generic song about a man who swears that he is not looking for a one night stand.

Most songs written by committees stink, but “Fifteen To Forty-Three” by Don Goodman, Frank Dycus, Mark Sherrill and John Wesley Ryles is a terrific ballad about a fellow sorting through a box of memories and regrets. This has a very country feel to it and would have made a great single.

<blockquote>I just cut the string
On a dusty old shoe box
And opened a door to the past
Now I’m sittin’ here with my souvenirs
And these faded old photographs.

Fightin’ back tears
Lookin’ back through the years
And wonderin’ why dreams fade so fast
Now the young boy I see
Don’t look like the me
Reflected in this old looking glass.

The man in the mirror
Sees things so much clearer
Than the boy in the pictures
With his eyes full of dreams
Oh, the men that I’ve tried to be
From fifteen to forty-three
Never believed that they’d end up like me.

The ninth track “Everybody Needs A Hero” was written by Troy Seals and Max D Barnes. It’s a great song that Gene Watson released as a single. Although Conway does a nice job with the song, it is not quite as nice as Gene’s version (I like the production on Gene’s record better).

The album closes with Gary Burr’s “That’s My Job”, the last single released from this album. The single reached #6 but deserved a better fate. It is one of the best songs Conway ever recorded

I woke up crying late at night
When I was very young.
I had dreamed my father
Had passed away and gone.
My world revolved around him
I couldn’t lay there anymore.
So I made my way down the mirrored hall
And tapped upon his door.

And I said “Daddy, I’m so afraid
How will I go on with you gone that way?
Don’t want to cry anymore
So may I stay with you?”

And he said “That’s my job,
That’s what I do.
Everything I do is because of you,
To keep you safe with me.
That’s my job you see.”

Borderline was one of Conway Twitty’s last big hit albums, reaching #25, higher than any subsequent Conway Twitty studio album would reach. There are some good songs on this album, but the filler truly is filler and the production sounds as phony as most late 1980s country production. This album is somewhere between a C and a C+.

Album Review: Conway Twitty – ‘Southern Comfort’

By the dawn of the 1980s, Conway Twitty had collected 23 solo number one singles and another five from duets with Loretta Lynn. Changes were afloat in the new decade, the least of which was a tweak in appearance, from his trademark pompadour hairstyle to the head of curls that would carry him through until his death in 1993.

Twitty parted ways with Decca/MCA Records after fifteen years with the label in 1981. He would release his next two albums on Eleketra, a move that would continue his success and allow Twitty to venture into new realms of his career. His first release for the label, Southern Comfort, would give him two more chart-topping singles. The album was produced by Jimmy Bowen.

The first single, “The Clown” was a slow and prodding ballad, typical of the period, with zero country signifiers. The follow-up, “Slow Hand” had been a big hit for The Pointer Sisters a year earlier. “Boy Next Door,” “Love And Only Love” and “It Turns Me Inside Out” are more of the same mid-paced to slow warmed over balladry.

“When Love Was Something Else” is an excellent change of pace, with twangy guitar added into the mix and noticeable effort to resemble country music. “She Only Meant to Use Him” employed the same techniques for another winning number. “Something Strange Got Into Her Last Night” continues the upward trend and could’ve easily been right at home under the care of Ronnie Milsap. “I Was The First” has an engaging melody I really enjoyed. The title track is an awful throwaway, with a cheesy lyric and intrusive background vocalists.

Despite the two singles, which Conway Twitty pursuits consider low points in his catalog, all hope is not lost with Southern Comfort. The majority of songs on the album are good and engaging, but not earth-shattering or remarkable. I wouldn’t rush to seek out a copy, the album can be easily streamed on YouTube, but it’s better than the singles and album cover would suggest.

Grade: B

Classic Rewind: Kenny Rogers and Ronnie Milsap – ‘Make No Mistake, She’s Mine’

Album Review: Kenny Rogers – ‘Love Will Turn You Around”

Kenny Rogers’ thirteenth album, Love Will Turn You Around, was his second studio release since parting ways with longtime collaborator Larry Butler. The album, released in 1982, was a platinum-selling success.

The title track, one of my favorites in Rogers’ catalog, was issued as the lead single. The whimsical mid-paced ballad, the theme to his film Six Pack, peaked at #1 on both the Country and Adult Contemporary charts.

The second and final single, “A Love Song” was written and originally recorded by Lee Greenwood on his Inside Out album the same year. The lush ballad, which peaked at #3, is a bit too slow and delicate for my tastes.

Bobby Harden’s “Fightin’ Fire with Fire” is the story of a man being tormented by a woman named Diana and the new flame she’s literally rubbing in his face. “Maybe You Should Know,” composed by Peter McCann, is a forceful confessional from a man to his woman.

The funky R&B leaning “Somewhere Between Lovers and Friends” was co-written by Brent Mehar and Randy Goodrum, who were enjoying ample success during this period writing for everyone from The Judds and Anne Murray to Ronnie Milsap. With that degree of pedigree, it’s odd this wasn’t chosen as a single.

“Take This Heart,” by J.P. Pennington, moves Rogers’ further away from country with a lyric and melody that would’ve perfectly suited Crystal Gayle. The straight-up rock of “If You Can Lie A Little Bit” recalls his work with the First Edition. “The Fool In Me,” another Goodrum co-write (with Dave Loggins), is one of the album’s strongest tracks, complete with horns.

The best album cut on Love Will Turn You Around is closing track “I Want A Son,” co-written by Steve Dorff and Marty Panzer. The reflective ballad isn’t particularly country but that doesn’t diminish its quality in the least.

Love Will Turn You Around is a mixed bag at best, melding a slew of different styles both effective and ineffectively. The title track is the obvious classic and easily the most memorable cut from this set.

Grade: B

Week ending 9/16/17: #1 singles this week in country music history

1957 (Sales): Whole Lot of Shakin’ Going On — Jerry Lee Lewis (Sun)

1957 (Disc Jockeys) (tie): Fraulein — Bobby Helms (Decca)
My Shoes Keep Walking Back to You — Ray Price (Columbia)

1967: My Elusive Dreams — David Houston & Tammy Wynette (Epic)

1977Don’t It Make My Brown Eyes Blue — Crystal Gayle (United Artists)

1987: Make No Mistake, She’s Mine — Kenny Rogers & Ronnie Milsap (RCA)

1997: She’s Got It All — Kenny Chesney (BNA)

2007: More Than a Memory — Garth Brooks (Big Machine/Pearl)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Small Town Boy — Dustin Lynch (Broken Bow)

Week ending 8/5/17: #1 singles this week in country music history

1957 (Sales): (Let Me Be Your) Teddy Bear/Loving You — Elvis Presley (RCA)

1957 (Disc Jockeys): Bye Bye Love — The Everly Brothers (Cadence)

1967: I’ll Never Find Another You — Sonny James (Capitol)

1977It Was Almost Like a Song — Ronnie Milsap (RCA)

1987: Snap Your Fingers — Ronnie Milsap (RCA)

1997: Carrying Your Love With Me — George Strait (MCA)

2007: Never Wanted Nothing More — Kenny Chesney (BNA)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Yours If You Want It — Rascal Flatts (Big Machine)

Album Review: Janie Fricke – ‘Singer Of Songs’

After nearly a decade as a background singer, and singer of television jingles, Janie Fricke finally emerged with her first ever album, released in May 1978. At the time Janie was six months past her 30th birthday, a rather late start for becoming a solo singer. This is not to say that Janie was an unknown quantity in Nashville, as she had sung background for many of Nashville’s elite such as Dolly Parton, Barbara Mandrell, Crystal Gayle, Ronnie Milsap, Lynn Anderson and Conway Twitty.

Ultimately, it was her work on several of Johnny Duncan’s hits “Jo and the Cowboy,” “Thinkin’ of a Rendezvous,” “It Couldn’t Have Been Any Better,” and “Stranger” that brought her talents to the forefront. Whereas she had not been given label credit on the earlier hits, Janie was given equal billing with Duncan on his recording of “Come a Little Bit Closer”.

While Singer of Songs is a bit generic and doesn’t give Janie much chance to show off her vocal prowess, it was a decent initial effort and did produce three decent singles.

The album opens with “I Loved You All The Way”, a bland easy listening ballad with full Nashville Sound treatment. This is followed by “We Could Have Been The Closest Of Friends”, another bland ballad, albeit with a bit more muscular vocal by Fricke.

This is followed by “You Changed My Life in A Moment”, a song I can envision the Carpenters singing – in other words yet another string-laden ballad.

The nights the sky was filled with clouds
My worried mind was filled with fears
I couldn’t count all the lonely hours
Spent with memories and tears

I never thought I would see the day
When I could throw all my sorrow away
But then you came and you showed me the way
You have made all those times disappear

You changed my life in a moment
And I’ll never be the same again
You changed my life in a moment
And it’s hard for me to understand
With a touch of your hand
In a moment of time
All my sorrow is gone

The fourth track “No One’s Ever Gonna Love You”, while not very country, at least has some grit to it and finds Janie giving a forceful R&B vocal that gives a hint as to the power behind her voice.

Track five (aka the last track on the A side of the vinyl release) is “I Believe In You” a nice easy listening ballad that is not the same song as the Don Williams hit.

Track six was the first track on Side Two of the vinyl album, Janie’s cover of Hank Locklin’s huge hit “Please Help Me I’m Falling”. Janie takes the song at a slower tempo than the original but acquits herself well. This is the first song on the album that I would actually describe as Country music, and it is the only track to feature steel guitar. This was the third single from the album and reached #12 – the Canadian country charts had it reach #4.

The first single, “What Are You Doing Tonight” reached #21 and got to #14 on the Canadian country charts. This is a nice pop county song written by Bob McDill.

Maybe I’m saying too much
After all, I just met you
But I’ve got to say just what I feel
I hope it won’t upset you

I think you’re the one I’ve been dreaming of
With a little time we might fall in love

So what’re you doing tonight
What’re you doing tonight
The wind is warm and the stars are bright
What’re you doing tonight

“Week-End Friend” was released by Con Hunley as a single reaching #13. Both Janie and Con gave this song a soulful R&B treatment which effectively showcased the song. This is the only track on the album to feature trumpet and sax.

Friday night don’t come soon enough
When I’ve been waitin’ all week for love
6:05 the train will arrive
He’ll be coming in

I’ve got a week-end friend
I’ve got a week-end friend

He’ll have that special look upon his face
And if it ain’t rainin’ we’ll go to my place
And when we close the door the feeling will pour
All over us again

I’ve got a week-end friend
I’ve got a week-end friend

Track nine is “Baby It’s You” was the second single, reaching #21 (and #19 in Canada). It’s a mid-tempo ballad, again with more of an R&B feel than country. This is not the same song that the Shirells, the Carpenters and Jody Miller took onto the charts.

The album closes with another Bob McDill song, “I Think I’m Falling In Love”. On this track Janie’s vocals give strong evidence as to what her vocals would sound like on future albums.

This is a very tentative album for a singer is struggling to find her voice and her muse. In my opinion tracks 6-10 are much stronger that tracks 1-5 in that the producers took more chances with the arrangements and material and smothered her less with string arrangements. I would give this album a C+ based on the strength of tracks 6-10.

Spotlight Artist: Janie Fricke

Like many other country music stars, Janie Fricke grew up singing in school and church from an early age, but unlike most of her peers, she never planned on becoming a star. Instead, the South Whitley, Indiana native was pursuing a career in education. While studying at Indiana University, she landed a gig singing advertising jingles (most notably for Red Lobster), which sparked her interest in a music career. She moved to Nashville in 1975 and became a highly sought-after background vocalist, lending her voice to recordings by many of the era’s biggest names, including Conway Twitty, Ronnie Milsap, Tanya Tucker, Barbara Mandrell, and Crystal Gayle.

It was Fricke’s work with Johnny Duncan, however, which set her on the path for her own solo career. An uncredited line on his 1977 hit “Stranger” led to audiences wondering who the female mystery singer was. As a result, Billy Sherrill offered her a recording contract and signed her to Columbia. Much of her early work was in the highly-produced pop country style that dominated during the late 70s, but she also showed a knack for interpreting more traditional material. Her first two singles “What’re You Doing Tonight” and “Baby It’s You” both just missed the Top 20, but her cover of Hank Lockin’s “Please Help Me I’m Falling (In Love With You)” almost cracked the Top 10, landing at #12 in 1978.

Janie continued to enjoy moderate chart success through the end of the 1970s, finally cracking the Top 10 in 1980 with “Down To My Last Broken Heart”, which topped out at #2. Her follow-up single, a cover of Ray Price’s hit “Pride”, reached #12 and “I’ll Need Someone To Hold Me (When I Cry)” reached #4. From then on, Janie was consistent Top 10 hit maker, including seven #1 hits and became one of the most popular female artists of the 1980s, earning Female Vocalist of the Year trophies from the CMA in 1982 and 1983. Her success began to taper off around 1986 when the shift to more traditional sounds began to dominate on country radio. Her last Columbia album Labor of Love, was released in 1989.

After leaving Columbia, Janie continued to record for a variety of smaller, independent labels and was also a regular on The Statler Brothers’ TNN variety show in the early 1990s. Her most recent album is a 2012 re-release of a 2004 collection of her 80s hits remade with bluegrass arrangements. She records infrequently these days although she continues to tour. Our spotlight will focus on her most successful 80s output and we hope you will enjoy the trip down memory lane.

Week ending 7/29/17: #1 singles this week in country music history

1957 (Sales): Bye Bye Love — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Bye Bye Love — The Everly Brothers (Cadence)

1967: Tonight Carmen — Marty Robbins (Columbia)

1977It Was Almost Like a Song — Ronnie Milsap (RCA)

1987: The Weekend — Steve Wariner (MCA)

1997: Carrying Your Love With Me — George Strait (MCA)

2007: Lost in This Moment — Big & Rich (Warner Bros.)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): My Girl — Dylan Scott (Curb)

Week ending 7/22/17: #1 singles this week in country music history

1957 (Sales): Bye Bye Love — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: With One Exception — David Houston (Epic)

1977It Was Almost Like a Song — Ronnie Milsap (RCA)

1987: I Know Where I’m Going — The Judds (RCA/Curb)

1997: Carrying Your Love With Me — George Strait (MCA)

2007: Lost in This Moment — Big & Rich (Warner Bros.)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Craving You — Thomas Rhett featuring Maren Morris (Valory)

Classic Rewind: Ronnie Milsap – ‘(I’d Be) A Legend In My Time’

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.)