My Kind of Country

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

Tag Archives: Steve Glassmeyer

Album Review: Kenny Rogers and Dottie West – ‘Classics’

Male-female duets still exist today, although usually in the form of acts that always (or nearly always) perform as duets. Acts that normally perform as solo acts may combine for a song or two (“Special Events”), but rarely do they issue albums of duets

The album Classics, released in 1979, was the second (and final) album of duets released by the unlikely pairing of Kenny Rogers and Dottie West. Kenny, of course was a country & pop superstar but Dottie West was a veteran second-tier country artist, whose 1978 album with Kenny (Every Time Two Fools Collide) would trigger a brief renaissance on the United Artists/Liberty label.

I am not sure why this particular pairing came about, although I have some suspicions. United Artists was not a major player in country music and did not have a deep roster of female artists. Billie Jo Spears, arguably the leading female country singer on the label, did not have a voice that would blend well with Kenny’s voice.

The recently signed Dottie West, on the other hand, had a track record of being able to blend and harmonize with male singers. Her track record at RCA had included successful recordings with such diverse singers as Jim Reeves, Don Gibson and Jimmy Dean. Dottie’s first album and the second album, released on the heels of the first duet album, did not produce any top fifteen hits but the first duet album did produce a #1 and a #2 single.

That brings us to this album, a collection of some county songs, some borderline pop-country-easy listening songs and some pop songs. Produced by Larry Butler, the album was not quite as successful as its predecessor duet album, but still sold over two million copies.

The album opens up with “All I Ever Need Is You”, a top ten pop hit and #1 Adult Contemporary hit for Sonny & Cher and a top twenty county hit for Ray Sanders, both versions in 1971. This version would rise to #1 on the country chart. While not as country as the Sanders version (still my favorite), it is not as pop as the Sonny & Cher versions. Both steel guitar (by Pete Drake) and string arrangements are featured in the arrangement. The song works well as a duet.

Sometimes when I’m down and all alone
Just like a child without a home
The love you give me keeps me hangin’ on
Oh honey, all I ever need is you

You’re my first love, you’re my last
You’re my future, you’re my past
And loving you is all I ask, honey
All I ever need is you

The Wynette, Richey, Sherrill composition “ ‘Til I Can Make It On My Own” is up next. The song was a #1 country hit for Tammy Wynette in 1976. The song works as a duet but is in a key where Kenny seems to be struggling to hit some of the notes.

“Just The Way You Are” was a #3 Billboard / #2 Cashbox top ten pop hit for writer Billy Joel in 1977. The arrangement of this song reeks of cocktail lounge balladry. I’d rather hear Billy Joel perform this song and I am no fan of his music.

Randy Goodrum penned “You Needed Me”. Goodrum would co-produce Dottie’s 1979 album Special Delivery and write six of the songs on that album. I think that this song, as recorded by Anne Murray (#1 pop / #4 country), , was his biggest hit as a songwriter. The arrangement on this one is definitely easy listening.

“(Hey Won’t You Play) Another Somebody Done Somebody Wrong Song” was made famous by B.J. Thomas, winning the 1976 Grammy Award for Best Country Song. The song’s writers, Larry Butler and Chips Moman definitely cleared the bases with this song as it went to #1 on the country, pop and A/C charts in the US, nearly duplicating that success in Canada. Kenny & Dottie do a nice job with the song although the arrangement can be best described as ‘countrypolitan’. Steve Glassmeyer is featured on soprano sax.

It’s lonely out tonight
And the feelin’ just got right for a brand new love song
Somebody done somebody wrong song

Hey, wontcha play another somebody done somebody wrong song
And make me feel at home while I miss my baby, while I miss my baby
So please play for me a sad melody
So sad that it makes everybody cry-why-why-why
A real hurtin’ song about a love that’s gone wrong
Cause I don’t want to cry all alone

There is no questioning the country credentials of the next song, “Together Again” written by the great Buck Owens. Although initially released as the B side of Buck’s 1964 single “My Heart Skips A Beat”, most disc jockeys played both sides of the record resulting in both songs reaching #1, although in different weeks.

Unfortunately, the song is given an easy listening arrangement with strings and keyboards and not a trace of a steel guitar in the arrangement. There is a key shift whenever Kenny takes over from Dottie in singing a verse. I liked Dottie’s vocal on the song, Kenny’s not so much. The net effect is really disappointing.

Paul Craft was a successful songwriter who penned “Midnight Flyer”. The song is probably best remembered for Eagles recording of the song, although the song entered the realm of bluegrass music
through the Osborne Brothers terrific single recording of the song in 1973. Producer Butler gives the song the (fairly) acoustic arrangement the song demands. Kenny & Dottie acquit themselves well on this song.

Oo, Midnight Flyer
Engineer, won’t you let your whistle moan?
Oo, Midnight Flyer
I paid my dues and I feel like trav’lin’ on

A runaway team of horses ain’t enough to make me stay
So throw your rope on another man
And pull him down your way
Make him into someone who can take the place of me
Make him every kind of fool you wanted me to be

Barry Mann and Cynthia Weil were a highly successful songwriting team and Phil Spector was a successful producer and occasional songwriter best known for his ‘wall of sound’ production style. “You’ve Lost That Lovin’ Feelin'” was certainly the biggest hit that the Righteous Brothers would ever have, and possibly the most successful song from the Mann-Weil songwriting team. After hearing the Righteous Brother’s version it is difficult to accept any of the cover versions, of which there have been many. Kenny & Dottie do a decent job with the song, which is given a somewhat subdued ‘wall of sound’ production, but it pales in comparison to the original.

“Let It Be Me” is a popular song originally published in French in 1955 as “Je t’appartiens”. Written by Gilbert Becaud & Pierre Delanoe, the song became a worldwide hit when Manny Curtis appended English lyrics to the song. The Everly Brothers (#7 pop – 1960) and a duet by Betty Everett and Jerry Butler (#5 pop – 1964) cemented the song’s popularity in the English speaking world. In 1969 Glen Campbell and Bobbie Gentry had a pop and country hit with the song. Kenny and Dottie sing the song quite well – I think Kenny’s best vocals on this album are to be found on this song. The song is not country, the arrangement is very orchestral, but the net effect is very nice.

Like most of Kenny’s albums, this is essentially a pop album with a nod toward country music. There would be no more duet albums by this pair and after a brief resurgence in 1979 through early 1981, Dottie’s solo career would fade away (not surprisingly as Dottie would turn 50 in 1982). The younger Rogers (b. 1938) would continue to have varying degrees through the end of the 1980s, followed by a long coda.

I like parts of this album, but there are tracks I tend to skip over – I give it a C+

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Album Review: Kenny Rogers – ‘Kenny’

Kenny followed the crossover success of ‘The Gambler’ with another self-titled album, filled with songs intended to attract the non-country audience. Indeed, listening to most of the record I was hard pressed to hear any country elements at all.

The lead single, ‘You Decorated My Life’, is a pleasant but definitely AC ballad ornamented with a heavy string arrangement. It was another big hit for Kenny, hitting #1 country, #2 Adult and #7 pop. The album’s sole nod to reasonably straight country was a return to the story songs which had been so successful for him before, in the shape of ‘Coward Of The County’. Set to the same rhythm as ‘Lucille’, the somewhat melodramatic story is of a boy who eschews violence after his criminal father dies, until his girlfriend is assaulted. It proved to be an enormous international hit, Kenny’s only #1 other than ‘Lucille’ in the UK (where for some reason ‘The Gambler’ did not chart). It’s not as good, or believable, as ‘Lucille’, but is definitely memorable and the best song on this album.

A couple of other songs are in a country-pop vein. ‘Goodbye Marie’ is a well-written song (by Mel McDaniel and Dennis Linde’ about a man planning on leaving, but with a somewhat cluttered production. It definitely had single potential, and in fact was subsequently a minor hit for Bobby Goldsboro, and Kenny’s version was eventually released as a spoiler single in 1986, after he had moved to a rival label. ‘One Man’s Woman’, written by Kenny’s keyboard player Steve Glassmeyer, is a pretty good cheating song, and is well sung by Kenny, although the strings dominate the arrangement too much for my taste.

The standard ‘Old Folks’ is not country at all, but quite nicely done with a sensitive vocal interpretation, although the keyboard sound is now very dated and there are more strings.
‘I Want To Make You Smile’ is a tender ballad written by Bill Medley of the Righteous Brothers. I like this despite the overbearing strings, apart from a hideous falsetto note or two near the end.

‘Tulsa Turnaround’, which Kenny had previously recorded with The First Edition, is more of a dirty blues rocker which is well done but a bit loud and busy for me. ‘You Turn The Light On’ is very pop with a hard beat, and ‘She’s A Mystery’ is syncopated pop; while ‘Santiago Midnight Moonlight’ and the even more dreadful ‘In And Out Of Your Heart’ are outright disco.

This is not an album I can recommend to country fans.

Grade: D

Album Review: Kenny Rogers – ‘Love or Something Like It’

Kenny Rogers’ fourth album, Love or Something Like It, was released in July 1978. The record marked his fifth time working with Larry Butler, who would serve as his producer until 1980. This was his fourth consecutive number one album.

The album produced just one single, the title track, which Rogers co-wrote with his bandmate, Steve Glassmeyer. It’s a mid-tempo number with pleasing percussion and a nice groove. The song spent just ten weeks on the chart before cresting. Deryl Dodd subsequently covered it on Stronger Proof in 2005.

Three more of the album’s tracks were rich with alternative versions by other artists. B.J. Thomas, Sammy Davis Jr. and Tom Jones have also recorded the contemplative ballad “We Could’ve Been The Closest of Friends.” “Sail Away,” which features light touches of R&B, was originally released by Sam Neely in 1977 and again by The Oak Ridge Boys, who took it to #2, in 1979. Far too many artists have sung “Even a Fool Would Go” through the years to list them here, but the string and piano-laced ballad is probably most familiar to country fans courtesy of Charlie Rich, who released it as a single under the direction of Billy Sherill in 1977.

Another notable track, “Momma’s Waiting,” was originally recorded by Rogers with the First Edition in 1970. The intriguing ballad, which Rogers co-wrote with Terry Williams, casts him as a prison inmate saying goodbye to his mother as he’s led off to his execution. The song is both haunting and effective. “Momma’s Waiting” serves as the B-Side to “The Gambler.”

One theory as to why United Artists let Love or Something Like It die after one single is “I Could Be So Good for You,” co-written by Dennis Linde. The track was Rogers’ feeble attempt to cash in on the disco craze, with diminishing returns.

“There’s A Lot of That Going Around” is a solid ballad, with pleasing percussion. The arrangement on “Starting Again” is far more tasteful and country-leaning. The trend continues with “Buried Treasure,” which actually feels like it fits within similar uptempo country songs from the era.

“Something About Your Song” is progressive but inoffensive. The funky “Highway Flier” is a lot to handle and ranks among the weaker tracks, despite committed performances from the session musicians.

Love or Something Like It is a mixed bag with little material worth seeking out. “Momma’s Waiting” is the standout track and while others are good to very good, nothing here is remarkable or rises above the characterization of filler. It doesn’t help matters that the album, forty years in, hasn’t aged well.

Rogers is better than this, which he more than proved with the output he released (including the duets albums with Dottie West) around the time of crafting this album. I’d skip this one, except for “Momma’s Waiting,” and seek out the stronger material from his other late 1970s recordings.

Grade: B-