My Kind of Country

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

Tag Archives: Ronnie Milsap

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)

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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.)

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