My Kind of Country

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

Tag Archives: Tammy Wynette

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.

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In Memoriam: Mark Gray (1952-2016)

Singer/Songwriter Mark Gray has passed, aged 64. The onetime member of Exile wrote ‘The Closer You Get,’ which was recorded by Alabama and hit #1 in 1983. Another notable recording, ‘Sometimes When We Touch’ paired him with last month’s spotlight artist Tammy Wynette. The song peaked at #6 in 1985. It would be her final Top Ten charting single. His biggest solo single, “Please Be Love” peaked at #7 the same year.

 

Classic Rewind: Tammy Wynette – ‘Your Love’

Album Review: Tammy Wynette – ‘Heart Over Mind’

515m5b-5vol-_ss500There comes a point in even the most respected and revered artist’s career when the hits stop coming. Tammy Wynette’s commercial success began tapering off in the 1980s. 1985’s “Sometimes When We Touch”, a duet with Mark Gray, was her last Top 10 record. 1987’s Higher Ground found her embracing the New Traditionalist movement. That disc spawned two Top 20 hits. 1989’s Next To You was in many ways a throwback to the style for which she was known in the 1960s and 1970s. Neither of that album’s two singles reached the Top 40. Wynette never stopped trying to get back to the top of the charts, and her label, to its credit, stuck by her. 1990’s Heart Over Mind, produced by Bob Montgomery, was an attempt to modernize her sound without sacrificing the element that made her identifiable and unique. And for a brief moment, it appeared that the strategy might actually work.

The album’s lead single “Let’s Call It a Day Today” was one of those tear-jerkers that Tammy sang like no one else could. It finds her packing her things and plotting her escape from a floundering marriage while her soon-to-be ex sleeps. Her voice was showing some signs of age, but the production was contemporary and fresh. And country radio, which had ignored her last several releases, seemed to be paying attention. I heard the record quite a lot on my local station when it was first released. Unfortunately, it soon lost its momentum and topped out at #57. The songs lyrics make reference to the couple’s children and imply that Wynette is taking them with her, but the video which was directed by Tammy’s former lover interest Burt Reynolds, shows her leaving them behind, casting her in a slightly less sympathetic vein.

The second single “I’m Turning You Loose” is a light-hearted uptempo kiss-off written by Sonny Throckmorton and Curly Putman. It failed to chart. The third and final single “What Goes With Blue” is another uptempo number which finds Tammy picking out a wardrobe as she prepares to re-enter the dating scene. It charted at #56. It is the fourth song on the album and I’ve always thought of it as the follow-up to the story told in the album’s third track, “Suddenly Single”, a ballad which finds Tammy still picking up the pieces following a break-up.

Although it produced no hits, Heart Over Mind is a consistently strong effort from beginning to end, from the bouncy title track to “Half the Way Home”, a poignant look back at al lifelong friendship, and “If You Were The Friend”, which finds Tammy agonizing over whether to tell her best friend that her husband is cheating on her, and wondering what the friend would do if the situation were reversed.

Heart Over Mind was valiant effort to regain Wynette’s commercial momentum, but sadly it confirmed for once and for all that radio was through with her. With the exception of “Where’s The Fire”, which is ill-suited for Tammy’s voice, there are no missteps. Although she continued to record until almost the end of her life, this was her final solo album. Her subsequent releases were all collaborative efforts: 1993’s Honky Tonk Angels teamed her up with Dolly Parton and Loretta Lynn, 1994’s Without Walls found her singing with a variety of guest artists from both within and outside the country music community, and 1995’s One reunited her with George Jones. Epic also released a three disc boxed set, Tears of Fire, in 1992 to commemorate Wynette’s 25 years with the label. None of the tracks from Heart Over Mind were included, and it’s highly likely that this album was overlooked by some fans. It’s well worth a listen if you’ve missed it.

Grade: A

Classic Rewind: Tammy Wynette – ‘Cowboys Don’t Shoot Straight (Like They Used To)’

Classic Rewind: Tammy Wynette – Gospel Medley

Amazing Grace – I’ll Fly Away – I Saw The Light

Album Review: Tammy Wynette – ‘Next To You’

next-to-youThe singles from Higher Ground were to prove to be Tammy’s final top 40 country hits as radio moved on to a new generation of singers. She turned to veteran Norro Wilson to produce her next album, 1989’s Next To You.

There were two singles from the album. The title track peaked just outside the top 50; it is a subdued, rather downbeat ballad about finding love again, with some rather pretty fiddle. The nostalgic midtempo ‘Thank The Cowboy For The Ride’ (about childhood playmates turning to lifelong love) did even less well, and may be a little too sweet for some despite a little humor.

‘The Note’ is a passionate ballad about heartbreak previously recorded by Gene Watson (and later covered by Daryle Singletary). It is a great song, but the production on Tammy’s version somewhat cloaks it with excessive backing vocals. ‘You Left Memories Layin’ (All Over The Place)’ is in much the same style as the wife left behind.

Even better known was ‘I’m So Afraid Of Losing You Again’, a Dallas Frazier/Doodle Owens song which was one of Charley Pride’s biggest hits. Tammy’s version is delightful, and the song itself is so perfectly constructed it cannot fail.

‘If You Let Him Drive You Crazy (He Will)’is an excellent song written by Curly Putnam, Don Cook, and Max D Barnes. The jaundiced lyric about the failings of men, as seen through the eyes of a mother giving advice to her daughter just embarking on life, tells volumes about her own married life:

The man always gets what he’s after
Then leaves you just over the hill
You oughta understand why it’s over
If you let him drive you crazy, he will

There isn’t a real resolution, just the suggestion that the daughter’s trust in her own boyfriend might be plagued by doubt. Rather more positively, ‘We Called it Everything But Quits’ is a good-humored reflection on surviving hard times and an enduring marriage.

‘I Almost Forgot’, written by Karen Staley, is a very nice song about an encounter with an ex briniging up painful memories. ‘Liar’s Roses’ is a delicate ballad written by Bill and Sharon Rice about a woman who is not fooled for an instant by her cheating husband:

The doorbell rings
It’s flowers for me
Roses again
It’s the third time this week
What kind of fool
Must he picture me to be
To be blinded by a dozen liar’s roses?

Guilt-stained words on beautiful cards
But not a single one that comes from the heart
He’s seein’ her again
‘Cause that’s when he starts
Sendin’ me these lovely liar’s roses

Oh, I’m sleepin’ in a bed of liar’s roses
While he dreams of somebody else
He lies to me and thinks that I don’t know it

‘When A Girl Becomes A Wife’ written by Tammy and husband George Richey is deliberately old fashioned in its lyric, but it feels odd even in the 1989 context, let alone 2016.

Tammy’s voice was showing signs of strain, but this is generally a solid album with the odd misstep.

Grade: B+

Classic Rewind: Tammy Wynette – ‘Til I Can Make It On My Own’

Classic Rewind: Tammy Wynette – ‘I Still Believe In Fairy Tales’

Album Review: Tammy Wynette – ‘Higher Ground’

tammywynette_highergroundTammy Wynette spent the better part of the late 1970s and 1980s seeing her commercial fortunes begin to wane. Actress Annette O’Toole portrayed Wynette in a television movie, Stand By Your Man, in May 1981. Her singles were routinely charting top twenty during this time and she returned to the top ten when her cover of Dan Hill’s “Sometimes When We Touch,” a duet with Mark Grey, peaked at #6 in 1985.

Our coverage resumes in 1987, which found mainstream country deep in the throngs of a traditional renaissance. Wynette followed suit accordingly with Higher Ground, her twenty-eighth album, produced by Steve Buckingham. While any momentum she may’ve gained from her previous album had cooled, it didn’t stop Epic from pushing ahead with three singles from the set.

The dobro drenched “Your Love,” a mid-tempo ballad featuring Ricky Skaggs hit #12. The neo-traditional “Talkin’ To Myself Again,” with an assist from The O’Kanes, peaked at #16. Both are very good although not memorable enough to stand out amongst iconic hits from the era.

They hit the artistic jackpot with final single “Beneath A Painted Sky,” which found Wynette in perfect harmony with Emmylou Harris. The somewhat kooky lyric details the true love of a daddy to his little girl:

There never was a little girl more wanted than me

I had all the love a child could ever want or need

Daddy gave me everything he could afford to buy

An’ on the ceilin’ in my room, he painted me a sky

 

Beneath the painted sky, that’s where I want to be

A place to go when this old world gets the best of me

A place where dreams come true

And no one ever says ‘goodbye’

Oh, I wish that I could live again, beneath the painted sky

The remainder of the album finds Wynette assisted by a plethora of country’s finest. Gene Watson provides harmony on “Tempted” while Vince Gill, in one of his earliest solo performances, lends his signature falsetto to “I Wasn’t Meant to live my Life Alone.” Ricky Van Shelton, among others, helps liven up the proceedings with the jovial “A Slow Burning Fire.” The Gatlin Brothers are the perfect accompaniment to the title track, a song that feels tailored to their trademark style.

Higher Ground, as a whole, is a gorgeous album. Wynette is still at her peak and the arrangements haven’t aged in the least. I would’ve liked songs that were more memorable, though, or even packed more of a punch. Despite her status as an icon, it’s easy to see how this album fell under the radar – her contemporaries were releasing stronger music that was easier to get noticed. But this is an album that shouldn’t be overlooked. It’s well worth checking out.

Grade: B+

Classic Rewind: Tammy Wynette – ‘Woman To Woman’

Album review: Tammy Wynette – ‘Til I Can Make It On My Own’

til-i-can-make-it-on-my-ownTil I Can Make It On My Own was Tammy Wynette’s fifteenth studio album since 1967, and represents a brief renaissance in album success, reaching #3 after her two previous albums failed to crack the top twenty of Billboard’s Country Albums chart. Her next album You and Me would reach #4, making it the last Tammy Wynette album to crack the top ten.

The album opens with the title track, which would prove to be her penultimate #1 country single, co-written by Tammy with George Richey and Billy Sherrill. Tammy often indicated that this was her favorite song of the many songs she recorded. The song depicts the vulnerability that Tammy excelled in conveying.

I’ll need time,
To get you off my mind.
And I may sometimes bother you;
Try to be in touch with you.
Even ask too much of you from time to time.

Now and then,
Lord you know I’ll need a friend.
‘Til I get used to losing you,
Let me keep on using you.
‘Til I can make it on my own.

“Just In Case” is a slow ballad given the full country cocktail treatment. The song makes a nice album track but had no potential as a single. The song is about a breakup in which the protagonist offers herself as a fallback position:

It’s over I know you’re going away
If you can’t stay I don’t want you to
I won’t miss you, no I don’t care where you go
But let me know just in case I do

I’m glad you’ve got a friend here in town
And I hope he’ll be good to you
Don’t you worry
Now I won’t worry about you
Just in case I do

It’s good you’re gonna be happy
You’re right it’s the right thing to do
And you couldn’t really be happy
If you thought I still care for you.

Charley Pride had a #1 single on “She’s Just An Old Love Turned Memory” in early 1977. The song was written by John Schweers, a songwriter who provided several hits to Charley. Originally cut by Nick Nixon, Tammy heard Nixon’s track and covered it. Reportedly she was considering releasing the song as a single. Her version is good, but it seems to work better from the male perspective.

I phoned him today, an accidental mistake
And his name slipped out to some friend
Forgotten old feelin’s brand new today’
‘Cause I’m right back where I’ve always been

He’s just an old love turned memory
And now I seldom see him around
He’s just an old love turned memory
But he still turns my world upside down

“The World’s Most Broken Heart” is another slow ballad, again given the full country cocktail treatment. The first verse reminds one of the opening to “The Grand Tour” (a George Jones hit) but the song isn’t nearly as well crafted or interesting.

Step right this way, here’s our main attraction
Direct your eyes to the centre of the room
She walks, she talks, she cries real tears,
Now the show’s about to start
Now presenting, the world’s most broken heart

See her cry when she remembers that her love’s gone bad
Watch her body ache as she recalls all the sleepless nights she’s had
She’s the greatest wonder of the world’s and her soul’s been torn apart
Now presenting, the world’s most broken heart

“If I Could Only Win Your Love” is next up. The song is a Louvin Brothers classic written by Ira and Charlie Louvin. Emmylou Harris took the song to #4 in 1975 for her first top forty chart hit. I don’t believe that the Louvin Brothers ever issued the song as a single, but their recording remains the definitive version. Their version originally appeared on their 1958 album Country Love Ballads. Tammy’s version is very good although the lead electric and steel guitar arrangements seem more honky-tonk than I’m accustomed to hearing for this particular song.

If I could only win your love
I’d make the most of everything
I’d proudly wear your wedding ring
My heart would never stray one dream away
If I could only win your love
I’d give my all to make it live
You’ll never know how much I give
If I could only win your love

Next up is “The Heart”, another slow ballad. It is a nice song, but at this point the album is getting overrun with slow ballads.
“You Can Be Replaced” doesn’t vary the tempo or the generally downbeat feel of the album, being another breakup song. The narrator says the departing boyfriend can be replaced but not in the manner you’d think:

Somebody new is loving you
And your gonna go with her I know
But there’ll be no tears running down my face
Go on with her you can be replaced

Take back your ring and everything
Let’s both forget we even met
There is no love time can’t erase
The minute you’re go, you can be replaced

You can be replaced by lonely days
By sleepless nights and all the rest
I’ll miss you so but none the less
You can be replaced by loneliness
You can be replaced by loneliness

“Love Is Something Good For Everybody” starts out as a slow ballad but after the introduction, it picks up the tempo to mid-tempo. It’s not a classic song, but represents a welcome relief from an album full of rather sad songs.

Not to worry, the next track takes the listener back to the depths of despair with another breakup song with another slow song, given the full Sherrill treatment on “Where Some Good Love Has Been”:

There’s your ring, my ring on the table
Now they won’t ever hurt our hands again
Cause when the lights go out tonight, we won’t be together
So let’s take a good look where some good love has been

Your love and my love is almost over
And it won’t be long till memories begin
Only in our minds we’ll find the times we found each other
So let’s take a good look where some good love has been

The original vinyl version of the album closes with “Easy Come Easy Go”, a rather bland ballad that sounds like something the Carpenters might have recorded.

Love just walked on down the road
I guess it had to be
Wish he wouldn’t walk so slow
Too much time to see
All that love leaving me

It’s easy come and easy go
That’s all he knows
So much sunshine in his smile
For a while he made my love the song

Lord he’d sing to me
Oh, he’d cling to me
And I loved him so
Easy come and easy go

Many listeners consider this to be one of Tammy’s best albums, but I disagree, since the album is basically comprised on a string of slow sad ballads with little relief. I think that if Wynette and Sherrill had interspersed another one or two up-tempo songs (not necessarily happy songs) I would like the album much more. The songs are mostly good and the performances good to very good but the album adds up to less than the sum of its parts.

Grade: C+

Classic Rewind: Tammy Wynette – ‘Kids Say the Darnedest Things’

Classic Rewind: Tammy Wynette – ‘Womanhood’

Album Review: Tammy Wynette – ‘My Man’

my-manTammy’s second release of 1972 produced two chart topping singles – three, if you count ‘Good Lovin’ (Makes It Right)’, which was a #1 single the previous year, but was originally released to promote Tammy’s Greatest Hits Volume II rather than this album.

The title track, ‘My Man (Understands)’ is not one of my favorite Tammy Wynette songs, a mid tempo love song which is just not terribly interesting and is given a brassy production. The second song has held up much better over time. ‘Til I Get It Right’ is a beautiful ballad written by Red Lane and Larry Henley with an inspiring message about facing a disastrous love life with optimism.

‘Walk Softly On The Bridges’ is an excellent song written by the legendary Dallas Frazier and A L “Doodle” Owens. It was a hit single for Mel Street the following year, and has been covered a number of times, but Tammy’s subtly emotional version was the first and arguably the best, as she offers advice to a friend tempted to cheat:

Don’t be careless with your darling
If you love him, don’t let him down
If you’re faithful he won’t leave you
Lost and wasted the way I am

Walk softly on the bridges that you’re crossing
Don’t break his heart then cry cause it won’t mend
Be careful not to slam the door behind you
You may need to knock upon his door again

She covered a recent hit for her husband George Jones, ‘Loving You Could Never Be Better’, a nice love song which works well for Tammy who gives it a hushed sensual reading. Maybe they should have cut the song as a duet. Donna Fargo’s breakthrough hit ‘The Happiest Girl In The Whole USA’ has aged distinctly less well, although Tammy sings it with enthusiasm.

Tammy wrote the subdued ballad ‘Things I Love To Do’ with Earl Montgomery, about a happy housewife . She sings it beautifully, but the song does not go anywhere. She also co-wrote the brassier ‘Hold On (To The Love I Got)’, another piece of filler.

She is more assertive telling her man ‘You Can’t Hang On’ if he isn’t going to give her enough loving; or that if he cheats on her she’ll be ‘Gone With Another Man’.

‘The Bridge Of Love’ (written by Jae J Kay) has a folky nursery rhyme quality, and combines a progressive message about a multiracial America with a sense of impending failure, which is a bit of a departure for Tammy:

Watch the happy children go round and round
Some are black, some are brown
The bridge is strong but when things go wrong
It’s down, down, down

Hear the little children singin’ their song
Everything’s right and they belong
All the little children are gonna be sad
When the bridge falls down, no mom, no dad

When the bridge of love starts fallin’ down
Fallin’ down, fallin’ down
The bridge is strong but when things go wrong
It’s down, down, down

One hand a-reachin’ out to another
Makes a bridge of love – will you be my brother?…
Look at our country, what do you see
The bridge of all colors standing free
The bridge is strong but when hearts go wrong
It’s down, down, down

There may be a few too many upbeat filler tunes, but there is some excellent material as well, and this is worth seeking out. It is available on a 2-4-1 deal with Bedtime Stories.

Grade: B

Classic Rewind: Tammy Wynette – ‘Til I Get It Right’

Album Review: Tammy Wynette – ‘The First Lady’

tumblr_ls3bvtwziu1qf01xeo1_500The First Lady, Tammy Wynette’s eighth album, was her third and final release in 1970. The project’s sole number one was the chart topping cautionary tale, “Run Woman Run,” in which a woman advises a friend to work it out with her ex-lover:

Run woman, run

Go back to him and fix things up the very best you can

Tell him you missed him while you were gone

Run woman, run back to your man

 

You’re a young girl, so understand, it’s so hard to find a man

Who comes home every night to only you

You may not find true love again, so go home while you still can

And find a way to work it out with your man

While no other singles were released, The First Lady is notable for containing six songs written or co-written by Billy Sherill. Barbara Mandrell simultaneously covered the excellent “Playin’ Around With Love,” which was issued as the second single from her debut album. Jody Miller released a version of the similarly upbeat “Safe In These Lovin’ Arms of Mine,” which wasn’t released to radio. Wynette does a superb job on both songs, even surpassing Mandrell with a superior vocal performance.

Given Wynette’s success with songs regarding domestic life and marriage, it’s no surprise to find most of Sherill’s contributions cover similar thematic ground. “He’s Still My Man” finds Wynette devastated by the philandering spouse she chooses to forgive. On another she’s “The Lovin’ Kind” to a man who favors the emotionally detached.

She’s a next-door neighbor on “I Wish I Had a Mommy Like You,” one of Sherill’s creepier contributions. Wynette is left to comfort a boy abandoned by his father and left home alone by his mother. A twist ending only makes matters harder to swallow:

There lives a little boy in the house next door to me

And as usual his mommy was gone

So he came over this morning and sat down next to me

And asked why does mommy leave me alone

 

But he’ll find out someday why his mommy stays away

And why a woman needs arms to hold her tight

And that she would stay at home and not leave him all alone

If his daddy didn’t stay away at night

 

He said I wish I had a mommy like you just like you

To hold me in her arms the way you do

When I lay me down to sleep I pray the Lord my soul to keep

And I ask for a mommy like you

 

Though a tear fell from his eye he was trying not to cry

I said don’t worry everything will be all right

So you just wait and see and I held him close to me

Just like I held his daddy last night

As if that wasn’t enough, Sherill and Wynette team with Carmol Taylor for “My Daddy Doll,” in which Wynette observes her daughter explaining to her friend how she’s transferred the love she’s lost from the father that’s abandoned her:

My little girl was playing with her friend from down the street

She took her by the hand and said there’s someone you should meet

And then they went into her room to play another game

She picked up all her dolly’s and told them all by name

 

I listened as she said their names here’s Betty Sue and Kay

Jack and June and Mary Jo and then I’ve heard her say

This one is my Daddy Doll and she sat him on the floor

I make believe he’s daddy since he don’t live here no more

 

My daddy doll is always near to help put me to bed

He kisses me and says goodnight like my real daddy did

He talks with me and never failes to answer when I called

My Daddy Doll is special and I love him most of all

My Daddy Doll is special and I love him most of all

Taylor’s solely written “Buy Me A Daddy” plays as a companion piece to the aforementioned song, albeit in a much tamer way. The lyric, in which a little girl offers a simple request, is more heartbreaking than eerie:

I buy toys for my little girl almost every day

To try and keep her happy

Since her daddy went away

But today she looked so lonely

As she climbed upon my knees

And in her sweet tiny voice she said this to me

 

Mommy I love you and all of my toys

But I want a daddy like the other girls and boys

Then she gave me her pennies her nickels and dimes

And the next thing she told me broke this heart of mine

Buy me a daddy, he don’t have to be new

Just as long as he loves me any daddy will do

 

And we’ll make him promise daddy won’t go away

Please buy me a daddy let’s go get one today

Buy me a daddy let’s go get one today

Taylor’s final contribution is the serviceable yet bland “True and Lasting Love.” Also included on The First Lady is Wynette’s version of Bill Anderson and Jan Howard’s “I Never Once Stopped Loving You,” a #5 peaking hit for Connie Smith that very year.

The remaining cut on The First Lady is the fabulous Chet Atkins and Curly Putman composition “Sally Trash.” Wynette channels Loretta Lynn with a lyric that finally gives her woman-scorned persona a backbone:

The whole big town of Knoxville is your playground every night

It seems I’m just your everyday plaything and honey that ain’t right

But my kinda love turns strong and steady not off and on like a neon flash

But if you don’t like my sweet kinda love then baby

Then go on out and pick up Sally trash

 

She’s been picked up many times then dropped like a hot potatoe

And she’s been squeezed and handled like an overripe tomatoe

But she don’t really love your lovin’ she just likes your cash

So if you don’t want my sweet kinda love then baby

Then go on out and pick up Sally trash

Evaluating The First Lady isn’t as easy a task as it might seem. Despite just one single, the album is a complete body of work. The listener never gets the sense that Wynette or Sherill padded the project to rush a release full of filler to the marketplace. Despite the subject matter, which leaves a bad taste in my mouth, there honestly isn’t a throwaway track in the bunch.

Songs like “I Wish I Had A Mommy Like You” and “My Daddy Doll” aren’t necessarily to my tastes, and will likely alienate the majority of the audience, but they aren’t as poorly constructed as they are sinister. The twist in the former is actually kind of genius. I’m just glad country music has evolved away from these types of songs. It proves that some evolvement, in which the genre is correctly pushed forward, only benefited later generations.

Grade: B+

Classic Rewind: Tammy Wynette – ‘Bedtime Story’

Album Review: Tammy Wynette – ‘The Ways To Love A Man’

the-ways-to-love-a-manBy the time The Ways To Love A Man, Tammy’s sixth solo album, was released in January 1970, Tammy and producer Billy Sherrill had found and perfected the formula for her recordings. Unlike fellow ‘Nashville Sound’ producers such as Chet Atkins at RCA, Owen Bradley at Decca/MCA and Don Law at Columbia, who made considerable use of symphonic strings and choral arrangements, Sherrill’s use of symphonic strings was minimal but his use of background voices was very aggressive indeed. Sherrill also used the steel guitar to shade the musical accompaniment in similar fashion to the way Owen Bradley would use string arrangements.

The Ways To Love A Man follows the usual formula with two singles, both of which went to #1, some covers of recent hit singles, and some filler. The album reached #3 on Billboard’s Country Albums chart, making it the fifth album to do so (a religious album in 1969 only reached the top twenty).

The album opens with the title track and second single, a song credited to Tammy, Billy Sherrill and Glen Sutton as co-writers. It’s a fairly sappy song that in the hands of another artist wouldn’t be very believable, but the song was crafted with Tammy’s vocals in mind and it soared to the top of the charts.

There are so many ways to love a man and so many things to understand
And if there ever comes a time you decide to change your mind
I’ll need a way to hold you and I can
Cause I’ll know all the ways to love a man
But there’s so many ways to lose a man so quickly
He can slip through your hands
One little thing goes wrong then all at once he’s gone
I’d have no way to hold him like I planned
It takes more than just one way to love a man
With my hands my heart anything I can find
My child my home my soul and my mind
I’ll know that I can hold him yes I can
If I know all the ways to love a man

Next up is “Twelfth of Never”, a late 1950s top ten pop hit in the USA and Australia for Johnny Mathis. The lyrics were written by Jerry Livingston and Paul Francis Webster and appended to an old English folk melody. The song and was recorded by many other artists, most notably Cliff Richard, who had a major hit with the song in the UK, Australia, Hong Kong, Ireland, Holland, Malaysia and Norway during the mid 1960s. My favorite version of the song was that recorded by Glen Campbell on his 1968 album A New Place In The Sun. It’s a very nice song, but not particularly well suited to Tammy’s voice. That said, Tammy and Sherrill acquit themselves well on this crooner ballad.

“I’ll Share My World With You” was a major hit for her then-husband George Jones in 1969. Written by Ben Wilson, the record reached #2 for George when released by Musicor. Tammy is not in George’s league as a singer (very few are) but the song works.

“Enough of A Woman” comes from the husband and wife team of Leon Ashley and Margie Singleton. Both Leon and Margie had some success as singers (Margie as a duet partner for George Jones and Faron Young) but I don’t remember this song being a hit for anyone.

“Singing My Song” was the first single from this album, although it appears that the song may have first appeared on Tammy Wynette’s Greatest Hits which was released just before this album. This song has a triumphant feel that isn’t that characteristic of her music.

Here’s a song I love to sing,
It’s about the man that wears my ring.
And even though he’s tempted, he knows,
I’ll make sure that he gets everything.
‘Cause when he’s cold, he knows I’m warm,
And I warm him in my arms.
And when he’s sad, oh, I make him glad.
And I’m his shelter from the storm.
I’m his song when he feels like singing.
And I swing when he feels like swinging.
I don’t know what I do that’s right,
But it makes him come home at night.
And when he’s home, I make sure he’s never alone.
And that’s why I keep singing my song.

“He’ll Never Take The Place of You” was written by Charlie Daniels, Bob Johnson and Billy Sherrill. The song is a slow ballad and while she does a nice job with it, it’s just album filler. Ditto for “I Know”, a ballad composed by George Jones and Tammy Wynette.

“Yearning (To Kiss You)” was a hit for George Jones in 1957 (released as a duet with Jeanette Hicks), his first top ten duet single. George co-wrote the song with Eddie Eddings. It’s worth hearing although the original was better. “These Two” was also composed by George and Tammy, another mid-tempo ballad.

“Where Could You Go (But To Her)” is a definite misstep, a Glenn Sutton-Billy Sherrill ballad that was a charting B side hit for David Houston with “Loser’s Cathedral” as the A side. Tammy sings the song alright but Sutton and Sherrill could have done a much better job of rewriting the lyrics to suit the feminine perspective.

“Still Around” was written by Billy Sherrill is another slow ballad. It is a nice song, gently sung by Tammy with perhaps the most subdued production of any song on the album. I think this could have been a successful single for Tammy:

To make you stay I’ll never try
And when you go I will not cry
But for a time I might be found somewhere live still around
But may you find a love that’s true
Someone to love and cherish you
And if you love your whole life through
And may you love as I love you
But if you’ll ever feel alone
With no true love to call your own
And if you’ll need a place to hide
These arms of mine are open wide
And if a troubled love brings you pain
My love is all like summer rain
Always remember I’ll be found still around

A solid effort for ‘The First Lady of Country Music’, a strong A-

Classic Rewind: Tammy Wynette – ‘Good Lovin’