My Kind of Country

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

Tag Archives: Sonny Curtis

Favorite country songs of the 1980s, Part 1

The 1980s were a mixed bag, with the early 1980s producing some of the lamest country music ever recorded, as the Urban Cowboy movie wrecked havoc on the genre. Fortunately, there was still good country music being released. The first flowering of the late 1980s “New Traditionalist” movement arrived in 1981 with the first hits of Ricky Skaggs and George Strait, but they remained outliers until 1986 as far as good new artists were concerned. The latter part of the decade, however, produced some truly excellent country music with the 1986 arrival of Randy Travis and company.

This list is meant neither to be a comprehensive list of great country songs from the 1980s, nor any sort of ranking of records. It’s just a list of some songs that I liked and remember. See if you recall any of these records.

If You’re Gonna Play In Texas (You Gotta Have A Fiddle In The Band)“ – Alabama
Alabama made excellent music during the 1980s, although the country content of some of it was suspect. Not this song, which is dominated by fiddle. One of the few up-tempo Alabama records that swings rather than rocks.

I’ve Been Wrong Before” – Deborah Allen
An accomplished songwriter who wrote many hits for others, particularly with Rafe VanHoy, this was one of three top ten tunes for Ms. Allen, reaching #2 in 1984. This is much more country sounding than her other big hit “Baby I Lied”.

Last of The Silver Screen Cowboys” – Rex Allen Jr.
After some success as a pop-country balladeer, Rex Jr. turned increasing to western-themed material as the 1980s rolled along. This was not a big hit, reaching #43 in 1982, but it featured legendary music/film stars Roy Rogers and Rex Allen Sr. on backing vocals.

“Southern Fried” – Bill Anderson
This was Whispering Bill’s first release for Southern Tracks after spending over twenty years recording for Decca/MCA. Bill was no longer a chart force and this song only reached #42 in 1982, but as the chorus notes: “We like Richard Petty, Conway Twitty and the Charlie Daniels Band”.

Indeed we do. Read more of this post

Classic Rewind: Keith Whitley – ‘I’m No Stranger to the Rain’

This was the third of five straight #1’s for Keith Whitley between 1988-89.  It was written by Sonny Curtis and Ron Hellard, and issued as the fifth single from Whitley’s landmark Don’t Close Your Eyes album.

Album Review: Keith Whitley — ‘Don’t Close Your Eyes’

dontcloseyoureyes1985’s L.A. to Miami provided Keith Whitley with some badly needed radio hits, but the slick pop-oriented production didn’t sit well with him. Wanting to return to his traditional country roots, he asked RCA executive Joe Galante to shelve the follow-up album that was nearly ready to release and to allow him to start working on a new album that was more in line with his musical tastes. Galante agreed, and Keith chose Garth Fundis to be his co-producer. The result was 1988’s Don’t Close Your Eyes, which was Whitley’s most critically acclaimed and commercially successful album up to that time.

Two tracks from the scrapped album were salvaged and released as singles to maintain Whitley’s presence on the radio while he and Fundis were working on the new album. “Would These Arms Be In Your Way”, which featured harmony vocals by Vern Gosdin (one of the song’s co-writers) and Emmylou Harris peaked at #36 on the Billboard country singles chart in 1987. It was followed by “Some Old Side Road” which reached #16. Both of these tracks were eventually included on the new album, though “Would These Arms Be In Your Way” appeared only on the CD version.

The album opens with the mid-tempo “Flying Colors”, which is a decent song, but not quite up to the standards of the rest of the album. The second track “It’s All Coming Back To Me Now”  is one of my favorites.  Co-written by Keith with Curly Putman and Don Cook, it’s one of the few instances in which Keith recorded a song he’d written himself. In this interview with TNN’s Shelly Mangrum, he mentioned that it was being considered for release as a single, but that never happened.

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Album Review: Keith Whitley — ‘L.A. to Miami’

latomiamiAfter the commercial failure of his RCA debut mini-album, Keith Whitley changed directions somewhat, moving away from traditional country and more towards a more contemporary (i.e., commercial) sound. The result was 1985’s L.A. to Miami, produced by Blake Mevis, who had produced some of George Strait’s early work. At that time, country radio was still more receptive to more pop-oriented music; the neotraditionalist movement was not yet quite in full swing. That would change about a year later when Randy Travis burst onto the scene. Ironically, one of the songs that propelled Travis to stardom — “On The Other Hand” — had been previously recorded by Whitley, and is included in this collection. At first it seems like the perfect match between singer and song, but Whitley’s version pales in comparison to Travis’. This is one of the very few examples in which Whitley seemed to be phoning in his performance.

Another song to file under “Ones That Got Away” is the Dean Dillon composition “Nobody In His Right Mind Would’ve Left Her”, which would go on to become a #1 hit for George Strait the following year. Whitley’s version was never released as a single. His vocal performance is stellar, and this version could have been a hit had RCA released to radio before MCA beat them to the punch with Strait’s recording.

It must have been extremely frustrating for the struggling artist to watch two songs from his album become #1 hits for other artists, particularly when the first single from the album, “I’ve Got The Heart For You” performed about as well as Whitley’s previous singles, peaking at #57. Whitley’s fortune would change, however, with the next single release “Miami, My Amy”, which was written by Dean Dillon, the legendary Hank Cochran, and Royce Porter. With this typical mid-80s country-pop record, Whitley cracked the top 20 for the first time. “Miami, My Amy” climbed to #14. The remaining singles, “Ten Feet Away”, “Homecoming ’63” and the somewhat autobiographical (though not penned by Whitley himself) “Hard Livin'” all reached the top 10.

My favorite track on the album is “That Stuff”, written by Sonny Curtis and Ron Hellard. This track is less pop-oriented and is a bit closer to the type of music Whitley would go on to record in the future.

The change in musical direction paid off from a commercial standpoint; L.A. to Miami reached #26 on the Billboard Country Albums chart. But artistically it is a mixed bag. Too many of the songs are marred by slick, heavy-handed 80’s production, complete with saxophone and electronic keyboards, and there is no escaping the fact that Whitley’s voice was better suited for more traditional material. Keith himself had mixed feelings about this album; he and Mevis teamed up to record another album in the same vein, but upon its completion, Keith asked RCA to shelve the album and allow him to do more traditional material.

Twenty-four years after its release, L.A. to Miami is not a bad album — there is no such thing as a bad Keith Whitley album — but it sounds very dated to twenty-first century ears. It is interesting primarily because it shows Whitley’s progression as an artist; it’s definitely not his best work and not the place to start a collection of Keith’s music. In fact, if there’s one album in the Whitley catalog to be skipped over, this is it.

Grade: B-

Watch a live performance of “Miami, My Amy”: