My Kind of Country

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

Tag Archives: Sonny James

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)

Week ending 2/11/17: #1 singles this week in country music history

morris10-21957 (Sales):Singing the Blues — Marty Robbins (Columbia)

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

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

1967: Don’t Come Home A-Drinkin’ (With Lovin’ On Your Mind) — Loretta Lynn (Decca)

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

1987: Leave Me Lonely — Gary Morris (Warner Bros.)

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

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: Tammy Wynette – ‘Tammy’s Touch’

tammys-touchThe second of three albums Tammy released in 1970, Tammy’s Touch had two hit singles. The first, ‘I’ll See Him Through’, written by producer Billy Sherrill and Norro Wilson, which peaked at #2, is a beautifully understated subdued ballad about a wife wondering if her marriage which may be on the rocks, but determined to honor the past support he has given her. The arrangement has dated a bit, but Tammy’s vocal is superb.

‘He Loves Me All The Way’ (written by the same pair together with Carmol Taylor) went all the way itself to #1. It is a bouncy tune about a jealous woman doubting her man’s fidelity, apparently unfairly. On the same theme, but with a more downbeat note, ‘Cold Lonely Feeling’, written by Jerry Chesnut, is a very good song about a married woman plagued by doubt.

Also excellent is Curly Putnam’s ‘The Divorce Sale’, using a separating couple’s selloff of unwanted joint possessions to highlight the sadness of the split. It could have been a big hit if released as a single for Tammy. The subdued ‘Our Last Night Together’ is from the point of view of the ‘other woman’ as her affair with a married man comes to an end.

Sherrill’s ‘Too Far Gone’ (best known from Emmylou Harris’s version a few years later) is a beautiful song, and Tammy’s version is lovely. Sherrill wrote ‘A Lighter Shade Of Blue’ (another good song) with Glenn Sutton. A troubled wife-cum-doormat in an on-off relationship is beginning to feel the pain less by repetition, and to love him a little less each time. Sutton and Tammy’s future husband George Richey wrote ‘Love Me, Love Me’, quite a nice romantic ballad. Jerry Crutchfield’s ‘You Make My Skies Turn Blue’ is another pretty love song.

The sultry ‘He Thinks I Love Him’, written by Carmol Taylor, has a potentially intriguing lyric about a controlling husband which is defused by revealing that she does indeed love the man. ‘Run, Woman, Run’ offers advice to a flighty young newlywed thinking of leaving. The heavily orchestrated ‘Daddy Doll’ will be far too saccharine for most modern listeners, but in its own way points out the sadness of divorce for the children involved.

‘It’s Just A Matter Of Time’ is a cover of a 1959 R&B hit for Brook Benton, but Tammy probably recorded it as it was a contemporary country hit for Sonny James; it may be most familiar to country fans from Randy Travis’s 1989 version. Tammy’s take is not particularly distinctive. Finally, ‘Lonely Days (And Nights More Lonely)’ is a pretty good song about separation from a loved one.

This is a very strong album, albeit firmly one of its time. It should appeal to all Tammy Wynette fans.

Grade: A-

Week ending 6/25/16: #1 singles this week in country music history

Ray_Price_publicity_portrait_cropped1956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

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

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

1966: Take Good Care of Her — Sonny James (Capitol)

1976: El Paso City — Marty Robbins (Columbia)

1986: Mama’s Never Seen Those Eyes — The Forester Sisters (Warner Bros.)

1996: Time Marches On — Tracy Lawrence (Atlantic)

2006: Summertime — Kenny Chesney (BNA)

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

2016 (Airplay): Humble and Kind — Tim McGraw (Big Machine)

Week ending 6/18/16: #1 singles this week in country music history

hqdefault-61956 (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: Take Good Care of Her — Sonny James (Capitol)

1976: I’ll Get Over You — Crystal Gayle (United Artists)

1986: Life’s Highway — Steve Wariner (MCA)

1996: Blue Clear Sky — George Strait (MCA)

2006: Summertime — Kenny Chesney (BNA)

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

2016 (Airplay): T-Shirt — Thomas Rhett (Valory)

Album Review: Loretta Lynn – ‘Sings’

loretta lynn singsLoretta Lynn Sings was Loretta Lynn’s debut album on Decca Records. Released in December 1963, the album followed on the heels of an uncharted single 1961 (“I Walked Away From The Wreck”), two 1962 singles including her first chart single “Success”, and another uncharted single (“World of Forgotten People”), and in 1963 another charted single, “The Other Woman”. There would be another single released in 1963, the #4 “Before I’m Over You” (not found on this album) before this album was released.

The album opens up with “Success” written by Johnny Mullins, who was a high school custodian. “Success” was a lament about how a husband’s career success was undermining their marriage. The song went to #6 as would “Blue Kentucky Girl”, another Johnny Mullins-penned song a few years later.

Since Loretta was a new artist that Decca was trying to break into the country markets, this album, more so than most country albums of the time, is full of covers rather than a few covers and some filler.

For many years Jimmy Gateley was the front man for Bill Anderson’s band. He was also an adept song-writer, as “The Minute You’re Gone” proves. Sonny James would have a top ten country hit with the song in 1963, and British rocker Cliff Richard would take the song to #1 on the UK pop charts (and top ten in seven other countries). Needless to say, Loretta sounds nothing like Cliff Richard but her presentation is strong and clear.

Betty Sue Perry would provide Loretta with quite a few songs during the 1960s. “The Other Woman”, not to be mistaken for the Ray Price song of the same title, tells the love triangle story from the perspective of the mistress.

According to Billboard, “Alone With You” was Faron Young’s biggest hit, spending a whopping ten weeks at #1. While I don’t think it was Faron’s biggest seller, it was a great song and Loretta acquits herself well on the song.

“Why I’m Walking” was writing by Stonewall Jackson and Melvin Endsley. A big hit for Stonewall Jackson, it resurfaced decades later as a hit for Ricky Skaggs. Again Loretta acquits herself admirably.

The first of Loretta’s own compositions “The Girl That I Am Now” is next. Although not released as a single, I think it would have made a good single and it demonstrates how proficient Loretta already was as a songwriter. This song is bout a wife who cheated on her husband and is racked by guilt and the hope that he never finds out about what she did.

He loves the girl I used to be
But could he love the girl I am now

I don’t think I need to say anything about the lineage of “Act Naturally’. Loretta tackles the song with aplomb. The instrumental arrangement remains up-tempo but the acoustic guitars have a very hootenanny era feel.

Another Loretta Lynn composition follows, “World of Forgotten People”. I don’t remember it being a hit single for anyone but everybody and his cousin recorded the song including the Osborne Brothers, George Jones, Conway Twitty, Vernon Oxford, The Wilburn Brothers, Ernest Tubb and countless others:

I live in the world world of forgotten people
Who’ve loved and lost their hearts so many times
I’m here in the world of forgotten people
Where every heart is aching just like mine

“The Color of The Blues” was written by George Jones and Lawton Williams and was a hit for George Jones. Lawton Williams, of course, wrote “Fraulein” and “Farewell Party”. Loretta handles the song effectively.

“Hundred Proof Heartache” is another of Loretta’s compositions. This works as an album cut but would not have made a good single for Loretta.

I’ve got a hundred proof heartache and a case of the blues
My baby’s gone and left me I’ve lost all I can lose
I’ve got a hundred proof heartache my world keeps turnin’ round
This hundred proof heartache’s got me down
You waded through my tears and said goodbye
You didn’t seem to care how much I’d cry
You made your home the tavern down the street
And this old heart cries out with every beat

Cindy Walker was a great songwriter, being a favorite writer for Bob Wills, Jack Greene and countless other country stars. “I Walked Away from the Wreck” equates a failed love affair with an automobile accident. Although released as a single, the song did not chart.

Justin Tubb’s “Lonesome 7-7203″ proved to be the only #1 record for Hawkshaw Hawkins, and a posthumous one at that for “The Hawk”, who died in the same plane crash that killed Cowboy Copas and Patsy Cline. The song would also be a hit for Tony Booth about a decade later. Whoever arranged the song took it at a far too slow tempo. Taken at a faster tempo I think Loretta could have really nailed the song.

There was a distinctive “Decca Records” sound during the 1960s that tends to permeate all of the label’s recordings. Since the same studio musicians and same arranger (Owen Bradley) were used on most of the major artists recordings, this is understandable. There was a little bit of an attempt to vary Loretta’s sound through occasional use of banjo or acoustic guitar on Loretta’s recordings but it was still basically a formulaic background production. Set apart Loretta’s recordings was her voice which could never be anything but country, no matter the pop trappings applied to the final product.

Loretta Lynn Sings would reach #2 on Billboard’s country albums chart. This album is a solid B+ but better albums would follow.

Album Review: The Judds – ‘River Of Time’

river of timeRiver Of Time, released in 1989, was the fifth of six studio albums issued by the Judds. By this time the act was becoming more centered on daughter Wynonna and material more suited to her vocal stylings.

The Judds’ first four full-length albums all went to #1 on Billboard’s Country Albums chart, although River Of Time would stall out at #2 (it reached #1 in Canada). Consequently the Judds had Nashville’s A-Team of songwriters pitching material to them.

I do not regard this album as being especially country as the “Soap Sisters” (as Ralph Emery referred to the Judds on his early morning WSMV-TV show in the days before they hit it big) drifted more toward material suitable to Wynonna’s voice. This is an interesting album, with a wide array of material.

Track by Track

“One Man Woman” (Paul Kennerley) – this is a bluesy number about what the narrator is, and what she is looking for (a one woman man). This song was released as a single and reached #8.

“Young Love (Strong Love)” (Kennerley, Kent Robbins) – often simply called “Young Love” is not to be confused with the Sonny James mega-hit of thirty-two years earlier. This song is more of a story song than was Sonny’s classic. This song reached #1 as a single:

She was sitting crossed legged on a hood of a ford
Filing down her nails with a emory board
Talking to her friends about people they knew
And all of the things that young girls do
When she said you see that guy in the baseball cap
I’d like to spend some time with a boy like that

Betty said I seen him at the hardware store
I think his name is Billy, but I’m not sure
And as they talked a little while and he passed by
She smiled at him he just said “hi”
He was thinking to himself as he walked away
Man I’d like to find a girl like her someday

Chorus:
Young love, strong love, true love
It’s a new love
Their gonna make it through the hard times
Walk those lines
Yeah these ties that bind
Young love

“Not My Baby” (Brent Maher, Mike Reid, Mack David) – this is a mid-tempo number that strides the border between jazz and blues. Quitman Dennis takes a nice turn on the clarinet and Sonny Garrish’s tasteful work on the dobro accentuates the effect nicely.

“Let Me Tell You About Love” (Carl Perkins, Kennerley, Maher) – yes, that Carl Perkins. Fittingly, this up-tempo song reached #1:

Well ever since the day that time began
There’s been this thing ‘tween a woman and a manv We’ll, I don’t know but I do believe
It started in the garden with Adam and Eve
Sampson and Delilah had their fling
‘Til she cut his hair and clipped his wing
It don’t matter how the story’s told
Love stays young it can’t grow old

Chorus:
Let me tell you about love
About the moon and stars above
It’s what we’ve all been dreamin’ of
Let me tell you about love

“Sleepless Nights” (Felice Bryant, Boudleaux Bryant) – the husband and wife team of Felice and Boudleaux Bryant were legendary songwriters writing many huge hits for the Everly Brothers as well as such country stalwarts as Carl Smith, Jimmie Dickens, Buddy Holly and The Osborne Brothers (“Rocky Top”)River of Time, released in 1989, was the fifth of six studio albums issued by the Judds. By this time the act was becoming more centered on daughter Wynonna and material more suited to her vocal stylings.
The Judds first four full-length albums all went to #1 on Billboard’s Country Albums chart, although River of Time would stall out at #2 (it reached #1 in Canada). Consequently the Judds had Nashville’s A-Team of songwriter’s pitching material to them .

I do not regard this album as being especially country as the “Soap Sisters” (as Ralph Emery referred to the Judds on his early morning WSMV-TV show in the days before they hit it big) drifted more toward material suitable to Wynonna’s voice. This is an interesting album, with a wide array of material

Track by Track

“One Man Woman” (Paul Kennerley) – this is a bluesy number about what the narrator is, and what she is looking for (a one woman man). This song was released as a single and reached #8.

“Young Love (Strong Love)” (Kennerley, Kent Robbins) – often simply called “Young Love” is not to be confused with the Sonny James mega-hit of thirty-two years earlier. This song is more of a story song than was Sonny’s classic. This song reached #1 as a single:

She was sitting crossed legged on a hood of a ford
Filing down her nails with a emory board
Talking to her friends about people they knew
And all of the things that young girls do
When she said you see that guy in the baseball cap
I’d like to spend some time with a boy like that

Betty said I seen him at the hardware store
I think his name is Billy, but I’m not sure
And as they talked a little while and he passed by
She smiled at him he just said “hi”
He was thinking to himself as he walked away
Man I’d like to find a girl like her someday
Chorus:
Young love, strong love, true love
It’s a new love
Their gonna make it through the hard times
Walk those lines
Yeah these ties that bind
Young love

“Not My Baby” (Brent Maher, Mike Reid, Mack David) – this is a mid-tempo number that strides the border between jazz and blues. Quitman Dennis takes a nice turn on the clarinet and Sonny Garrish’s tasteful work on the dobro accentuates the effect nicely.

“Let Me Tell You About Love” (Carl Perkins, Kennerley, Maher) – yes, that Carl Perkins. Fittingly, this up-tempo song reached #1:

Well ever since the day that time began
There’s been this thing ‘tween a woman and a manv We’ll, I don’t know but I do believe
It started in the garden with Adam and Eve
Sampson and Delilah had their fling
‘Til she cut his hair and clipped his wing
It don’t matter how the story’s told
Love stays young it can’t grow old
Chorus:
Let me tell you about love
About the moon and stars above
It’s what we’ve all been dreamin’ of
Let me tell you about love

“Sleepless Nights” (Felice Bryant, Boudleaux Bryant) – the husband and wife team of Felice and Boudleaux Bryant were legendary songwriters writing many huge hits for the Everly Brothers as well as such country stalwarts as Carl Smith, Jimmie Dickens, Buddy Holly and The Osborne Brothers (“Rocky Top”). This song apparently was written for the Everly Brothers and I remember the Everlys’ recording well (I am a huge Everly Brothers fan). The Judds acquit themselves well, achieving very nice harmonies on this song. I guess it is true that there is nothing like family harmony – I very much like this recording:

Somehow through the days
I don’t give in
I hide the tears
That wait within
Oh, but, then through sleepless nights
I cry again

“Water of Love” (Mark Knopfler) – I know Knopfler mostly from a duet album he cut with Chet Atkins but I understand that his band Dire Straits was hugely successful. This song definitely is not country, it is rather bluesy with a calypso beat:

High and dry in the long hot day
Lost and lonely in every way
Got the flats all around me, sky up above
Yes, I need a little water of love

I’ve been too long lonely and my heart feels pain
Cryin’ out for some soothing rain
I believe I’ve taken enough
Yes, I need a little water of love

“River of Time” (John Jarvis, Naomi Judd) – the title track is a Naomi Judd co-write. The song is a slow ballad with a cocktail lounge jazz piano accompaniment to open the song and more instruments coming in thereafter. The song is nice but at four plus minutes it is too long:

Flow on, river of time
Wash away the pain and heal my mind
Flow on, river of time
Carry me away
And leave it all far behind
Flow on river of time

“Cadillac Red” (Craig Bickhardt, Jarvis, Judd) – this song could be described neo-rockabilly. This kind of song makes for enjoyable listening but is nothing especially memorable. As an album track it serves the purpose of mixing things up after a pair of slow songs:

Well she’s washed and polished
And full of high octane
Ridin’ with the top down
Cruisin’ in the fast land
Her red hairs blowin’ bright as a flame
Cadillac Red’s her name

“Do I Dare” (Don Schlitz, Bickhardt, Maher) – this song addresses the dilemma faced by many a young woman (and perhaps older women as well):

Do I dare show him lovin’?
Do I go for double or nothin’?
Do I act like I don’t care?
Or, do I dare?

Do I do what my heart’s sayin’?
Do I hide my love awaitin’?
Make believe that he’s not there?
Or, do I dare?

This girl’s got a problem
She don’t know what to do
If there’s some way of tellin’
When a man is true

“Guardian Angels” (Schlitz, Jarvis, Judd) – 3:37 – this was the first Judds’ single in six years not to reach the top ten, peaking at #16. This is a nice story song that probably wasn’t a good choice for release as a single, but it is my nominee (along with “Sleepless Nights”) for the best song on the album:

A hundred year old photograph stares out from a frame
And if you look real close you’ll see, our eyes are just the same
I never met them face to face but I still know them well
From the stories my dear grandma would tell

Elijah was a farmer he knew how to make things grow
And Fanny vowed she’d follow him wherever he would go
As things turned out they never left their small Kentucky farm
But he kept her fed, and she kept him warm

Chorus:
They’re my guardian angels and I know they can see
Every step I take, they are watching over me
I might not know where I’m going but I’m sure where I come from
They’re my guardian angels and I’m their special one

I had heard the four singles from this album, plus my local radio station had played “Cadillac Red” a few times, so I had only heard half the album until a few weeks ago. The songs not previously heard provide a rich cornucopia of musical styles and point to Wynonna’s soon to follow solo career.

I would give this album a B+, mostly because I wasn’t that fond of “Water of Love” and “River of Time”. The album is worth seeking out and is available digitally.

Classic Rewind: Sonny James – ‘Young Love’

The legendary Sonny James died on Monday at age 87. During his 30-year career, he scored 26 #1 hits. Sixteen of them occurred between 1967 and 1971. He is best known for this 1957 hit:

Week ending 11/14/15: #1 singles this week in country music history

images-71955 (Sales): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Jukebox): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Disc Jockeys): Love, Love, Love — Webb Pierce (Decca)

1965: Behind the Tear — Sonny James (Capitol)

1975: I’m Sorry — John Denver (RCA)

1985: Can’t Keep a Good Man Down — Alabama (RCA)

1995: Check Yes or No — George Strait (MCA)

2005: Better Life — Keith Urban (Capitol)

2015: Die a Happy Man— Thomas Rhett (Valory)

2015 (Airplay): Break Up With Him — Old Dominion (ReeSmack/RCA)

Week ending 10/17/15: #1 singles this week in country music history

image1955 (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: Meet Me In Montana — Marie Osmond with Dan Seals (Capitol/Curb)

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 10/10/15: #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)

Album Review: Alabama – ’40 Hour Week’

40 hour weekIf I’m not mistaken, 40 Hour Week was the first album to be released as a CD on initial release, rather than only on vinyl and/or cassette, a strong indicator of just how popular the band had become. In 1985 relatively few country acts were being released on CD.

40 Hour Week was the band’s sixth RCA album and also represents a creative turn for the band in that earlier albums had focused on love songs and songs of the idyllic rural South, whereas 40 Hour Week is somewhat grittier and opens with two anthems celebrating the working person, before reverting to the usual pattern.

The album opens with the title track, written by the redoubtable trio of Dave Loggins, Lisa Silver & Don Schlitz. An excellent song that soared to #1 on August 3, 1985, giving Alabama its 17th consecutive #1 single (breaking the previous Billboard record held by Sonny James. The song is definitely a salute to working people:

There are people in this country
Who work hard every day
Not for fame or fortune do they strive
But the fruits of their labor
Are worth more than their pay
And it’s time a few of them were recognized.

Hello Detroit auto workers,
Let me thank you for your time
You work a forty hour week for a livin’,
Just to send it on down the line

Hello Pittsburgh steel mill workers,
Let me thank you for your time
You work a forty hour week for a livin’,
Just to send it on down the line.

Track two is “Can’t Keep A Good Man Down”, written by Bob Corbin, whose Corbin-Hanner band had some marginal success during the early 1980s.The song was the third single released from the album and reached #1.

Track three, “There’s No Way”, written by Lisa Palas, Will Robinson and John Jarrard, was the first single released from the album and reached #1 , becoming Alabama’s 16th consecutive #1, tying Sonny James; record for consecutive #1s.

As I lay by your side and hold you tonight
I want you to understand,
This love that I feel is so right and so real,
I realize how lucky I am.
And should you ever wonder if my love is true,
There’s something that I want to make clear to you.

There’s no way I can make it without you,
There’s no way that I’d even try.
If I had to survive without you in my life,
I know I wouldn’t last a day.
Oh babe, there’s no way.

Next up is “Down On Longboat Key”, a pleasant piece of album filler written by Dennis Morgan and Steve Davis. The song is a jog-along ballad about where a guy promised to take his girl.

She sits and stares out the window at the water
Every night down at Longy’s Cafe
All alone she sips her Pina Colada
Talking to herself dreaming time away
The story is that a dark haired sailor
Stole her heart many years ago
He promised her he’d come back and take her
Around the world, bring her hills of gold

“Louisiana Moon”, a Larry Shell – Dan Mitchell composition is more album filler. It is pleasant enough, mildly reminiscent of Jerry Reed’s “Amos Moses” in both subject matter and sound, but not nearly as funky.

The sixth track, “I Want To Know You Before We Make Love”, was written by Becky Hobbs and Candy Parton and would have made a good single for Alabama. The song is a romantic ballad that, for whatever reason, remained an album cut. Hearing its hit potential, the great Conway Twitty took it to #2 in 1987.

Sometimes all you need is someone to hold you
Sometimes that’s all you’re looking for
But I’d like to take the time to get to know you
‘Cause I don’t want this time to be like all the times before.

I want to know you before I make love to you
I want to show you all of my heart
And when I look into those eyes
I want to feel the love inside, you
I want to know you before we make love.

I’ve learned from all those lonely nights with strangers
It takes time for real love to be found
I feel the invitation of your body
But I’d like to look inside your soul before I lay you down.

I didn’t sense any fireworks in Alabama’s recording of “Fireworks” . I regard this as the weakest song on the album.

Jeff Cook delivers the lead vocals on “(She Won’t Have A Thing To Do With) Nobody But Me”, a good mid-tempo ballad written by Dean Dillon, Buzz Rabin & “Flash” Gordon. Jeff’s vocals seem a bit off from his usual standard on this particular performance. It is still worth hearing, as is the slow ballad “As Right Now” on which co-writer Teddy Gentry takes the lead vocals.

The album closes out with the John Jarrard – Kent Robbins penned “If It Ain’t Dixie (It Won’t Do)” an ode the South that closes with an extended jam at the end. It’s a good song but the excessive length guaranteed that it would not be released as a single. I think shortening the song and increasing the tempo would have greatly improved the song. As a lifelong Southerner, I identify with the lyrics but the execution was off a bit as far as I’m concerned

O

h, I love those Colorado Rockies
And that big starry Montana sky
And the lights of San Francisco
On a California night
Enjoyed those ballgames in Chicago
On those windy afternoons
It’s a big beautiful country
But I’m never home too soon
If it ain’t Dixie, it won’t do

If it ain’t Dixie, it don’t feel quite like home
My southern blood runs deep and true
I’ve had good times
North of the line
I’ve got a lot of good friends, too
But if it ain’t Dixie, it won’t do
It won’t do

My memory may be failing me, but I seem to recall that all of the singles released had accompanying music videos. I don’t think that was true of any of their other albums

I would give this album an A-. While I regard the three singles released to all be A+ material, the rest of the album would rate a B+ in my estimation. My opinion notwithstanding, this was the top selling country album of 1985.

Reissues wish list part 4: Capitol Records

wanda jacksonThe final part of this series looks at recordings issued on Capitol Records. Capitol didn’t have its own budget label but would lease old recordings to Pickwick and Hilltop.

Capitol Records was the smallest of the big four labels. Co-founder Johnny Mercer, a noted songwriter and performer, intended the label to be artist-friendly and so its rosters were relatively small. The major country artists for Capitol were Merle Travis, Tennessee Ernie Ford, Hank Thompson, Jean Shepard, Tommy Collins, Ferlin Husky, Tex Ritter, Faron Young, Sonny James, Wanda Jackson (not really a major country star), The Louvin Brothers, Charlie Louvin, Buck Owens, Merle Haggard, Glen Campbell, Freddie Hart and Gene Watson.

For whatever reason, most of the major Capitol artists are well represented on CD, whether through Capitol’s own reissues, or the efforts of foreign labels such as Ace, Bear Family and Jasmine. Among the Capitol artists listed above I would like to see more domestic re-issues on Faron Young, Charlie Louvin and Sonny James, but there is much product available even for them.

Kenny Dale was a fine singer who had a few hits reach as high as #11 on Billboard’s country charts (some of them, such as “Bluest Heartache Of The Year” reached #1 in some regional markets). While Capitol’s New Zealand affiliate issued a nice compilation (and Kenny has frequently performed ‘down under’) there has been nothing available domestically.

While Bobbie Gentry was a relatively minor presence in country music, a good two CD set of her material is needed as she had some success in the international markets along with her domestic hits.

The Hager Twins (aka Jim & Jon Hager) spent many years on the television show Hee Haw and toured with great success right up to the day Jim Hager died on May 1, 2008 (Jon died on January 9, 2009). While they never had great recording success, they remained a popular act and did chart a few records. The Hager Twins issued three albums on Capitol and it is likely, since most Capitol albums of the era ran 25-27 minutes in length, that all three could fit onto a single CD.

Hailing from Beaumont, Texas (home of George Jones), Billie Jo Spears was a fine artist who would have her biggest hits later while with United Artists and would enjoy great success with audiences in Great Britain and Ireland. While with Capitol, Billie Jo released six albums and a minimum of thirteen singles with one top ten single. I believe that Capitol, Liberty and United Artists now are all owned by the same conglomerate so it should be possible to take the Capitol Recordings and her eight United Artist and two Liberty albums and make a really nice three or four CD set.

Tony Booth would be on my wish list; however, Heart of Texas Records has reissued all six of Tony’s early 1970s albums on three CDs, as well as some recent recordings. Tony stayed in the business as a front man for Gene Watson, and perhaps others. He is a very fine singer.

On the other hand, other than two now out-of print anthologies, nothing has been released on Susan Raye other than her duets with Buck Owens. A good two CD set should suffice for her.

After knocking around the business as a songwriter and an excellent journeyman performer for over fifteen years, “Easy Loving” propelled Freddie Hart to superstar status for the better part of a decade. Already 43 years old when “Easy Loving” hit #1, while with Capitol Freddie had six #1 records, five more that reached the top three, three more top ten singles and a bunch more chart records to go long with eighteen albums (and a hits collection). Freddie is fully worth a boxed set of 60-80 songs based on his Capitol years alone.

Gene Watson still is very active as a touring and recording artist. While he is still in great voice and issuing terrific albums, his commercial peak occurred during his years with Capitol Records. Gene released seven albums and two hits collections while with Capitol. The British Hux label issued six of the albums on two-fers, but the albums should be released domestically. Capitol should release all three albums on a three CD set and there wouldn’t be a bad song in the bunch.

Mel McDaniel was a journeyman artist with a few big hits and a bunch of lower charting records that were good recordings but that have never been collected in digital form. There is a hits collection with ten or twelve songs on it, and some minor labels have issued re-recordings of some of his hits along with some extraneous new material. What is needed is a two CD set covering all of his 40+ Capitol chart records. Although they weren’t big radio hits, songs such as “Love Lies”, “Play Her Back To Yesterday”, “Hello Daddy, Good Morning Darling”, “Henrietta” and “Blue Suede Blues” are all worth preserving.

Most people identify Wanda Jackson as a Rock & Roll or Rockabilly artist rather than a country artist and that fact may have impaired her career as a country artist. That said, she had a substantial country career as a performer and released at least fifteen country albums while with Capitol. There have been a few decent Wanda Jackson country anthologies, mostly on foreign labels but a really good box set of 80-100 country recordings is warranted. Wanda Jackson Salutes The Country Music Hall of Fame is one of my favorite albums and none of its tracks have made it to a digital format.

Album Review: Waylon Jennings – ‘Love of the Common People’

51wqa0MBekL._SS280In the 1960s, sales of single records were far more important to the music industry than album sales. Albums consisted of one or two hit singles, and 8 to 10 “filler” songs, which were often cover versions of the current hits of other artists or less commercially viable songs written by the artist and/or producer. Country artists typically released an average of three albums a year. Waylon Jennings’ 1967 collection Love of the Common People was his fifth album for RCA, released a year after his debut collection for the label.

Produced by Chet Atkins, Love of the Common People is a little unusual in that none of its tracks were released as singles. It consists of the usual cover songs and original artist/producer compositions as well as a few contributions from well known songwriters of the day, such as Sonny James and Harlan Howard. Despite its lack of radio hits, the album’s material is stronger and less uneven than many albums of the day, and it sold reasonably well, peaking at #3 on the Billboard country albums chart. And although this is a slightly more polished Waylon than we would hear a few years later, the album largely avoids some of the excesses of the Nashville Sound era.

My favorite track is “Young Widow Brown”, a light-hearted tune written by Waylon and Sky Corbin, concerning a fun-loving young woman who drives her husband to an early grave and doing her best to send her many suitors to a similar fate. While not as edgy as Waylon’s later work, it’s not as far removed from his Outlaw music as one might expect.

The title track is a folk-rock tune that had been a pop hit earlier in the year for The Four Preps. It sounds like something that might have fit on Waylon’s earlier effort Folk-Country. “Taos, New Mexico”, written by RCA in-house producer Bob Ferguson, is a very nice Tex-Mex tune that’s a little ahead of its time. It sounds like something that Freddy Fender or Marty Robbins would have success with a few years later. “I Tremble For You” is a little known Johnny Cash song written by the man in black and Lew DeWitt, who was part of the original Statler Brothers lineup. It’s not the usual boom-chicka-boom style usually associated with Cash, and it shows Waylon’s strength as a ballad singer. Shoulda been a single. “If The Shoe Fits” by Harlan Howard and Freddie Hart, “Destiny’s Child” by Sonny James, and “The Road” by Ted Harris are all worth a listen.

The album does contain a couple of missteps: a cover of the John Lennon/Paul McCartney tune “You’ve Got To Hide Your Love Away”, and Mel Tillis’ “Ruby, Don’t Take Your Love to Town”. The latter about a wounded warrior suffering from physical injuries and PTSD, long before those terms were coined. His wife callously prepares to leave him on his own while she seeks her pleasures elsewhere, making no attempts to hide her intentions. The song had been a Top 10 hit earlier in the year for Johnny Darrell and two years later would become a huge pop smash for Kenny Rogers and The First Edition. It’s a good song, but Jennings’ delivery is surprisingly stiff and devoid of emotion.

Waylon Jennings, of course, had a long and distinguished career in country music and left behind a catalog so huge that it’s easy to overlook some of the entries that weren’t big hits. Love of the Common People is a gem well worth exploring.

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 2/14/15: #1 singles this week in country music history

Charley-Pride_19811955 (Sales): Loose Talk — Carl Smith (Columbia)

1955 (Jukebox): Loose Talk — Carl Smith (Columbia)

1955 (Disc Jockeys): Loose Talk — Carl Smith (Columbia)

1965: You’re The Only World I Know — Sonny James (Capitol)

1975: Then Who Am I — Charley Pride (RCA)

1985: Ain’t She Something Else — Conway Twitty (Warner Bros.)

1995: Mi Vida Loca (My Crazy Life) — Pam Tillis (Arista)

2005: Bless The Broken Road — Rascal Flatts (Lyric Street)

2015: Take Your Time — Sam Hunt (MCA)

2015 (Airplay): I See You — Luke Bryan (Capitol)

Week ending 1/31/15: #1 singles this week in country music history

1955 (Sales): Loose Talk — Carl Smith (Columbia)

1955 (Jukebox): Loose Talk — Carl Smith (Columbia)

1955 (Disc Jockeys): Let Me Go, Lover — Hank Snow (RCA)

1965: You’re The Only World I Know — Sonny James (Capitol)

milsap-21975: (I’d Be) A Legend In My Time — Ronnie Milsap (RCA)

1985:(There’s A) Fire In The Night — Alabama (RCA)

1995: Gone Country — Alan Jackson (Arista)

2005: Awful, Beautiful Life — Darryl Worley (DreamWorks)

2015: Something In The Water — Carrie Underwood (19/Arista)

2015 (Airplay): Til It’s Gone — Kenny Chesney (Blue Chair/Columbia)

Week ending 1/24/15: #1 singles this week in country music history

1955 (Sales): Loose Talk — Carl Smith (Columbia)

reba1955 (Jukebox – tie): More and More — Webb Pierce (Decca)

Loose Talk — Carl Smith (Columbia)

1955 (Disc Jockeys): Loose Talk — Carl Smith (Columbia)

1965: You’re The Only World I Know — Sonny James (Capitol)

1975: Kentucky Gambler — Merle Haggard (Capitol)

1985: How Blue — Reba McEntire (MCA)

1995: Not A Moment Too Soon — Tim McGraw (Curb)

2005: Awful, Beautiful Life — Darryl Worley (DreamWorks)

2015: Something In The Water — Carrie Underwood (19/Arista)

2015 (Airplay): Perfect Storm — Brad Paisley (Arista)

Five songs and some recollections from 1968

Although I had been listening to country music all of my life, 1968 was the first time I ever really focused on the genre.

There were several reasons for this, including the fact that with part-time and summer jobs I had some spending money for the first time in my life. One of my jobs was in Virginia Beach where there was a record store next door that actually carried a decent selection of country 45s.

The summer of 1968 may have been “the Summer of Love” for many but in my opinion pop music had started getting a bit weird for my taste so I started keeping my radio on either WCMS in Norfolk (“Where Country Music Swings”) or WTID in Newport News (“Top Gun”). Both of these were AM stations as the FM bands were reserved for classical music.

Mostly I listened to WCMS which was the stronger station (50,000 watts) and had better disc jockeys, folks such as “Hopalong” Joe Hoppel and “Carolina” Charlie Wiggs. Disc jockeys had more latitude in what they played, and local listener requests figured heavily in airplay. While I won’t pretend that the radio stations were perfect (there were lots of dumb commercials and sometimes really silly contests),radio station DJs could play records by local artists and other non-charting records without running afoul of corporate mucky-mucks. Local DJ Carolina Charlie had two records in “Pound By Pound” and “Angel Wings” in 1968 that received frequent airplay on WCMS and also received airplay on other stations throughout the area in which Charlie played live shows.

Most of the larger country radio stations had their own top forty charts and many of them had a local countdown show on Saturday or Sunday afternoon. At one time I had several years worth of top forty charts for WCMS AM-1050. Mom, God rest her soul, threw them out long ago without telling me, so to some extent I am operating on memory but there were five songs that were huge hits in the Norfolk area in 1968 that have stuck in my memory, songs that were not necessarily big hits nationally, but that the local audiences, composed largely of US military personnel and families loved (there were three local Navy bases plus an army base).

Undo The Right”, sung by Johnny Bush and written by Johnny’s good buddy Willie Nelson, was a big hit nationally, reaching #10 on Billboard’s Country chart. In the Norfolk area, the song was huge staying at the #1 slot for five weeks. The song, with its heavy dose of fiddle and steel, was more country sounding than 95% of the songs (mostly countrypolitan or Nashville Sound productions) to chart that year. The single was issued on Pete Drake’s Stop label and led to Bush being signed to RCA, where a mysterious throat problem derailed his career for a number of years

The big hits basically had long since stopped by 1968 for George Morgan, although “Sounds of Goodbye”, released on the Starday label, might have become a big national hit for him had not two other artists recorded the song, thus splitting the hit. Although the song only reached #31 nationally, it did spark off a bit of a renaissance for Morgan. In the Norfolk area the song was a top five hit, reaching #2. The song, probably the first hit on an Eddie Rabbitt composition, also charted for Tommy Cash at #41 and was a top twenty hit for Cash on the Canadian Country charts. Vern & Rex Gosdin had a successful record with the song on the west coast of the US in late 1967. Cashbox had the song reach #15 but their methodology in 1968 was to combine all versions of the song into a single chart listing. I’ve heard the Gosdins’ version of the song, but Tommy Cash’s version for United Artists never made it to an album and I’ve never found a copy of the single, so I’ve not heard his recording.

“Got Leavin’ On Her Mind” was probably my favorite recording of 1968. Written by the legendary Jack Clement, the song was issued on the MGM label by newly minted Country Music Hall of Fame member Mac Wiseman. As far as I know, the song was a ‘one-off’ for MGM and Wiseman. Long known as “the voice with a heart” and a legendary bluegrass singer, this record had the feel of bluegrass without actually being a bluegrass record in that the instrumentation was standard country without Nashville Sound trappings. Bluegrass artists rarely have huge chart hits and this was no exception, reaching only #54 for Mac. In the Norfolk area, demand for the single was strong and while it only reached #5 on the WCMS charts, the record store I frequented had difficulty keeping the record in stock, reordering new supplies of the single on several occasions.

Carl and Pearl Butler were archaic even when their music was new, but “Punish Me Tomorrow” seemed to catch the ears of the servicemen in our area. It only reached #28 nationally, but it was top ten on WCMS and might have reached higher but the DJs on WCMS made the mistake of playing the flip side “Goodbye Tennessee” resulting in the station receiving a lot of requests for that song, too.

Drinking Champagne” went top ten on WCMS, anticipating by four years the huge success that Cal Smith would achieve starting in 1972. Written by legendary disc jockey Bill Mack, the song reached #35 on Billboard’s country chart but went to #1 for a week on WCMS. Years later George Strait would have a successful record with the song. Cal’s was the better version and this might have been a huge national hit if released a few years later after Smith hit the big time.

I realize that most of our readership wasn’t born in 1968 and if they think about country music in 1968 at all, it is for pop-country singles like “Honey“, “Harper Valley PTA” and the various Glen Campbell and Sonny James singles that received some pop airplay. There were good solid country records being made but aside from the aforementioned and some Johnny Cash recordings, they weren’t receiving pop airplay. In 1968 there were large sections of the country that had no country stations at all; moreover, many country stations went off the air at sundown or cut power significantly so that they reached only the most local of audiences.