Country music from a fan's point of view since 2008
The girls released their seventh album in 1990 amidst an upheaval of change in the commercial country music landscape. Longtime acts from the 1980s were seeing their commercial fortunes diminish as a wave of hot, young, and mostly excellent talent became the focus of music row.
That being said, the lead single was a version of John Hiatt’s “Drive South” as a duet with Bellamy Brothers. While the song itself is excellent, Suzy Bogguss took it to #2 in 1992, it fails as a duet, couldn’t recapture the magic of “Too Much Is Not Enough,” and peaked at #63.
They rebounded creatively with the next single, “Nothing’s Going to Bother Me Tonight,” which is delightful, bluegrass-infused, and wonderfully uptempo. It, too, stalled at #63. One final single “Old Enough To Know,” a beautiful ultimatum, failed to chart.
In terms of the album cuts, I truly can’t praise them enough. The title track, a brilliant torch song led by the sisters’ exquisite harmonies, is spellbinding. “I Struck Gold” and “You’ll Be Mine” are both delightful mid-tempo ballads. “Between My Heart and Me” and “Better Be Some Tears” give the album some pep, Martina McBride subsequently recorded “Born To Give My Love To You,” a slower ballad, in 1995, and “You Can’t Have A Good Time Without Me” is a striking take on Western Swing.
The most notable aspect of Come Hold Me, in addition to its exceptional quality, is how it updates The Forester Sisters’ sound for the new decade. The arrangements, complete with steel, fiddle, and twangy guitars are perfectly early 1990s but still manages to sound fresh to modern ears. I wouldn’t categorize this as a commercial country album, but more in the alternative vein popularized by Kelly Willis.
I very strongly suggest seeking it out if you’re only familiar with the girls’ more popular work from the 1980s.
Grade: A+
The girls’ third album was released in 1987 following their successful duet with the Bellamy Brothers and subsequent Brothers and Sisters concert tour. Without a strong contender for a follow-up single from their previous album, Warner Brothers went ahead and started issuing singles from this set, which was released in the Spring.
“Too Many Rivers,” written by Harlan Howard was originally recorded and released by Brenda Lee in 1965, where it charted modestly on the country chart but was a major #2 pop hit. The girl’s version, which updates the torch ballad with a modern arrangement peaked at #5 and is quite wonderful.
They would return to #1 with the album’s title track, which was penned by the incomparable Paul Overstreet and Don Schlitz. It’s an excellent and perfectly produced ballad about an undoubted love:
Looking in my life
Through the eyes of a young girl growing older all the time,
Maybe just a little wiser
I can clearly see
All my mistakes keep coming back to visit me
Pointing out the roads not taken
So much I’d like to change but one thing I’d do the same
I’d choose you again, I’d choose you again
If God gave me the chance to do it all again
Oh, I’d carefully consider every choice and then
Out of all the boys in the world
I’d choose you again
Times weren’t always good
Seems like the Lord gave all the easy parts away
But every time the road got rocky
You’d look at me and say
Had all you needed long as I was there with you
You’re the reason I kept going
If I could start my life anew
The first thing that I would do
Their artistic winning streak continued on “Lyin’ In His Arms Again,” the album’s third and final single. The mid-paced ballad, which isn’t quite as strong as “(I’d Choose) You Again,” is still very good and peaked at #5.
The girls open You Again with “That’s What Your Love Does To Me,” a twangy up-tempo number about an irresistible partner. “Before You” is an excellent mid-tempo ballad and one of the more traditional-leaning songs on the album.
One of the record’s highlights is a tender ballad “My Mother’s Eyes,” which follows the captivating tale of a woman raising her kids after their father has abandoned the family. “Sooner or Later” is an uptempo change of pace with a synth-heavy arraignment that dates it to the time period.
They continue in that vein on “Wrap Me Up,” but with less synth and more percussion. “I Can’t Lose What I Never Had” is forgettable while “Down The Road” is a sweet tale of life back home with mom and dad.
I apologize for not having much information about the album so I wasn’t able to identify which sister sang lead on which songs. That being said, You Again is a very pleasant listen with some pretty great tracks.
Grade: B+
1959: The Battle of New Orleans — Johnny Horton (Columbia)
1969: Singing My Song — Tammy Wynette (Epic)
1979: If I Said You Had A Beautiful Body Would You Hold It Against Me — The Bellamy Brothers (Warner Bros/Curb)
1989: Where Did I Go Wrong — Steve Wariner (MCA)
1999: Please Remember Me — Tim McGraw (Curb)
2009: It Happens — Sugarland (Mercury Nashville)
2019: God’s Country — Blake Shelton (Warner Bros. Nashville)
2019 (Airplay): Good As You — Kane Brown (RCA Nashville)
1959: The Battle of New Orleans — Johnny Horton (Columbia)
1969: My Life (Throw It Away If I Want To) — Bill Anderson (Decca)
1979: If I Said You Had A Beautiful Body Would You Hold It Against Me — The Bellamy Brothers (Warner Bros/Curb)
1989: If I Had You — Alabama (RCA)
1999: Please Remember Me — Tim McGraw (Curb)
2009: She’s Country — Jason Aldean (Broken Bow)
2019: Whiskey Glasses — Morgan Wallan (Big Loud)
2019 (Airplay): Eyes On You — Chace Rice (Broken Bow)
The Bellamy Brothers released their tenth album in partnership between MCA Nashville and Curb Records in 1985. The record was produced by Emory Gordy Jr and Jimmy Bowen.
David Bellamy solely wrote lead single “Old Hippie,” which is my absolute favorite song the duo has ever released. David’s brilliant character sketch follows an unnamed man staring down forty disenfranchised by the changing times:
He turned thirty-five last Sunday
In his hair he found some gray
But he still ain’t changed his lifestyle
He likes it better the old way
So he grows a little garden in the backyard by the fence
He’s consuming what he’s growing nowadays in self defense
He get’s out there in the twilight zone
Sometimes when it just don’t make no sense
Yeh he gets off on country music
‘Cause disco left him cold
He’s got young friends into new wave
But he’s just too frigging old
And he dreams at night of Woodstock
And the day John Lennon died
How the music made him happy
And the silence made him cry
Yea he thinks of John sometimes
And he has to wonder why
He’s an old hippie
And he don’t know what to do
Should he hang on to the old
Should he grab on to the new
He’s an old hippie
This new life is just a bust
He ain’t trying to change nobody
He’s just trying real hard to adjust
He was sure back in the sixties
That everyone was hip
Then they sent him off to Vietnam
On his senior trip
And they force him to become a man
While he was still a boy
And behind each wave of tragedy
He waited for the joy
Now this world may change around him
But he just can’t change no more
The song peaked at #2. The Bellamy Brothers would revisit this character again, on two subsequent occasions. “Old Hippie (The Sequel)” came ten years later (1995) and updated the story to reveal the guy still felt disenfranchised by society but had softened since marrying and having kids. He would convert to Christianity eleven years later (2007) in “Old Hippie III (Saved),” featured on a gospel-themed project they released.
Another excellent number, “The Single Man and His Wife” is the story of an adulterer who takes advantage of his woman by stepping outside his marriage for loveless companionship with other women. “Everybody’s Somebody’s Darlin’” is also very good, although the production is a bit dated to modern ears.
“I’m Gonna Hurt Her On The Radio” was released that same year by David Allan Coe in the song’s original version. Charley Pride would take it to #13 in 1987 under the title “I’m Gonna Love Her On The Radio” and Shenandoah would release their version in 1989. Keith Whitley’s take on the song surfaced on Keith Whitley: A Tribute Album in 1994. All the versions seem to be about comparable to one another, with little variation. To that end, Howard and David cope with the song extremely well.
The remaining singles, which both peaked at #2, weren’t that great, either. “I’d Lie To You For Your Love” is a very good song that suffers from a horrendous arrangement that hasn’t aged particularly well. “Feelin’ That Feelin’” is lightweight filler.
Howard and David do a subpar job on “Wheels,” the Dave Loggins’ composition Restless Heart would take to #1 in 1987. “Seasons of the Wind” and “You’re My Favorite Waste of Time” are also unremarkable. “Jeannie Rae” is at least something different, and decidedly upbeat, but I didn’t care for it at all.
Howard and David is an uneven album with some bright spots along the way. I have a feeling that a number of these tracks would’ve been better had they been treated with more tasteful production in the vein of “Old Hippie” or “The Single Man and His Wife.” This isn’t a bad album at all, but the majority of it feels forgettable after listening to it just once.
Grade: B
To the unwary purchaser, it would appear that the Bellamy Brothers have released two Christmas albums during their career: 1996’s self-released Tropical Christmas, and 2002’s The Reason For The Season on Curb. In fact, however, these are the same recordings with a couple of changes. The original record included a version of the carol ‘Silent Night’, dropped in favor of the topical ‘God Bless America This Year’, a remake of ‘Let Your Love Flow’, and the new record’s title track. Although on the surface a predominantly secular and rather cosy record, the religious aspects of the festival are frequently referred to. There is a good amount of original material rather than all the same old covers we’ve heard on almost every other Christmas record.
The majority of the songs were written by one or other of the brothers. The best is ‘It’s So Close To Christmas’ (And I’m So Far From Home)’. This is a lovely, wistful song about being on the road in the leadup to the Christmas season, and the closets the album gets to traditional country. ‘Tropical Christmas’ is a Jimmy Buffett style paean to a Christmas vacation in the Caribbean – not really to my states but well done ion its way. ‘We All Get Crazy At Christmas’ is pretty good with a fond description of a typical big family Christmas.
Of the songs added in 2002, ‘The Reason For The Season’ is quite a nice new song written by Howard Bellamy, expressing idealistic views about the importance of family and love, set to a soothing melody. The earnest ‘God Bless America This Christmas’, written by David, takes its inspiration from the then new war in Afghanistan.
A few old chestnuts are included. There are enjoyable versions of ‘Rudolph The Red Nosed Reindeer’, ‘Rockin’ Around The Christmas Tree’, and a smoothly orchestrated ‘White Christmas’. More inventively, ‘Jingle Bells (A Cowboy’s Holiday)’ is a rather fun rewrite of the Christmas classic. This is impossible to dislike.
The brothers also revisit a couple of their most successful songs. ‘Old Hippie Christmas’ is an amusing third chapter to the duo’s 1985 hit single ‘Old Hippie’ and the 1990s sequel, which I enjoyed. The reggae version is ‘Let Your Love Flow’ added to the 2002 release of the album is much less well judged.
Three songs were written by Ralph Siegel, a German pop songwriter best known for his entries in the Eurovision Song Contest. ‘Merry Christmas And A Happy New Year’ is a little bland lyrically, but has a likeable message and pleasant tune before it devolves into a regrettable disco number. The idealistic ‘Light Up The Candles’ has a dated 80s sound to the production, but has a very pretty melody. The very pop and awkwardly written ‘Our Love Is Like Christmas’ has a dreadful spoken introduction and is generally cringeworthy.
While this is not my favorite ever Christmas album, it is a largely enjoyable one.
Grade: B
Although the New Traditionalist movement would not get fully underway until 1986, there were some signs of the changes that to come as early as 1984. That was the year that The Judds enjoyed their first #1 hit with “Mama He’s Crazy” and Reba McEntire received both critical accolades and commercial success with My Kind of Country, while George Strait and Ricky Skaggs continued to keep traditional country on the radio.
1984 also saw some changes for The Bellamy Brothers, although they moved in the opposite direction, with more layered production and pop elements than had previously been the case with their music. The change was likely precipitated by a change of co-producers, with Steve Klein taking over for Jimmy Bowen, a switch that was probably brought about by a change in label affiliations. In the 1970s and 1980s Curb Records was not a standalone label; they typically partnered up with a larger label to distribute and promote their artists. Up to now, the Bellamys’ albums were released jointly by Curb and either Warner Bros. or Elektra, but beginning in 1984, their music was released by MCA/Curb.
Restless, their first release under this new arrangement, was warmly received by radio, with all three of its singles reaching the Top 10 or better. “Forget About Me” (which I actually had forgotten about) reached #5. The very mellow “The World’s Greatest Lover”, complete with its Kenny G-esque saxophone, reached #6 and “I Need More of You” — the best of the three — climbed all the way to #1, becoming the duo’s seventh country chart-topper. “Forget About Me” was written by Frankie Miller, Troy Seals and Eddie Setser, while the other two singles came from the pen of David Bellamy.
Overall this is a very mellow album with mostly mid-tempo numbers, with “Rock-A-Billy” — which is exactly the kind of song its title suggests — and the title track being notable exceptions. The poppy and lyrically-light “I Love It” is a very catchy toe-tapper. “Diesel Cafe”, about a run-down greasy spoon truck stop has a melody that reminds me of Alabama’s “Christmas In Dixie.” I did not care for the reggae-flavored “We’re Having Some Fun Now.”
While there is nothing truly objectionable on Restless, it seems to be somewhat of an opportunity for the duo to explore other musical styles, which unfortunately results in them straying a bit too far at times from their country roots. I wouldn’t necessarily go out and buy this one, but it is worth streaming.
Grade: B
Released in 1982 by Elektra/Curb, Strong Weakness was the fourth studio album released during the 1980s and by the eighth overall studio album release. Buoyed by some strong singles, the album was the fifth straight top twenty country albums chart release for the brothers.
The copy of the album I am using for this review is a cassette tape which means the song sequence may vary from the vinyl or CD releases of the album and the information on the packaging is minimal.
The album opens up with “Strong Weakness” which was the fourth single and least successful single released from the album, topping out at #15. Written by David Bellamy, the song has a loping beat with relatively simple instrumentation (there is a nice steel guitar break) and a melody that is not terribly memorable by Bellamy standards.
I’ve got a strong weakness
Baby, I’m gone on your sweetness
Oh baby, stoned on your love
I’ve got a chillin’ fireBaby, I’m gone on desire
Oh baby, stoned on your love
Baby, I’ve got to say
Baby, I’ve got to sayYou’re good when you’re bad.
I’ve got a strong weakness
Baby, I’m gone on your sweetness
Oh baby, stoned on your love
Next up is “Doin’ It The Hard Way”, a gentle slow ballad about the ups and downs of a relationship. It’s a nice song but nothing that would ever be considered for release as a single.
“When I’m Away From You” was the second single released from the album, soaring to #1. The song was written by Scottish rocker Frankie Miller (not to be mistaken for the American country singer who hit in 1959 with “Family Man” and “Black Land Farmer”) and previously recorded by Kim Carnes. The imagery of the lyrics is very interesting:
When I’m away from you
Well, I can’t stay still
My thoughts won’t move from the way I feel
It happens time and time again
And the circle never endsWhen I’m away from you
Well, it hurts to say
My sense has gone so far away
I’m up all through the night
And I can’t tell wrong from rightWhen I’m away from you I see great big clouds
In the fog and rain all the lonely crowds
They seem to be so blue
Every night I’m missing youWhen I’m away from you well the sun don’t shine
The mood don’t come
The words don’t rhyme
When I’m away from you I can’t let go
And you know, oh, you know
“I Love Her Mind” was the third single off the album and reached #4. Written by David Bellamy the song features a Jamaican beat but is otherwise a slow ballad. I’m not sure you could get away with these lyrics in today’s overly politically correct environment, but the concept is interesting:
Forget about her eyes
That dance around
Like diamonds in the nightForget about her hair
That cascades like a fountain
In the moonlightAnd don’t think of her sweet lips
That leave me just as drunk
As any wineThough her body is immortal
I love her mind
“Almost Jamaica” has a Caribbean vibe to it and might have made a decent single. Although missing the Caribbean vibe, “Lazy Eyes” also might have made a decent single.
“Number Two” is mid-tempo song told from the perspective of a man who knows that he is not the man of his woman’s dreams.
I’m not saying that the Bellamy Brothers presaged “Murder On Music Row” with “The Night They Killed Country Music” but the concept is close. I could not find the lyrics for this song but there is a video clip available on the internet.
“Long Distance Love Affair” revisits a familiar theme, in fact there are a number of songs with this title. This song is presented as a very country ballad.
The album ends with “Redneck Girl” which was the first single off the album. This up-tempo song, written by David Bellamy sailed to #1 and is perhaps the most memorable song off the album, with strong lyrics and an easily remembered melody. The song remained a favorite of bar bands for over twenty years and has a staple of country dance clubs seemingly forever
Hey, redneck girl likes to cruise in Daddy’s pickup truck
And a redneck girl plays her heart when she’s down on her luck
Living for a Friday afternoon
She’s gonna show one ole boy that weekend moonAnd I pray that someday I will find me a redneck girl
A redneck girl likes to stay out all night long
She makes sweet rock’n’roll while she listens to the country songs
She’s waitin’ on that moment of surrender
Her hands are calloused but her heart is tenderAnd I pray that someday I will find me a redneck girl
Hey, give me a, give me a, give me a redneck girl
Give me a, give me a, give me a redneck girlYeah, give me a, give me a, give me a redneck girl
Yeah, give me a, give me a, give me a redneck girlA redneck girl got a name on the back of her belt
She’s got a kiss on her lips for her man and no one else
And a coyote’s howling out on the prairie
First comes love, and then comes marriageAnd I pray that someday I will find me a redneck girl
Yeah, give me a, give me a, give me a redneck girl
Give me a, give me a, give me a redneck girl
You got to give me a, give me a, give me a redneck girl
Yeah, give me a, give me a, give me a redneck girl
While not every song on the album is great, all of the songs are at least good and, for the most part, this is an unmistakably country album which I would rate as a B+ or A-
The Bellamy Brothers’ sixth studio album was also released in 1980 and continued the duo’s winning streak with two high performing singles. The lead single, and album opener, “Lovers Live Longer” hit #3. They returned to the top with “Do You Love as Good as You Look,” which sat comfortably in their signature style.
The album boasts many enjoyable traditional-leaning moments among the ten tracks. “It’s Hard to be a Cowboy These Days” is a western-themed ballad with lovely interjections of dobro throughout. Other standout moments include the pure honky-tonk “Classic Case of the Blues” and the deliciously uptempo “Honey, We Don’t Know No One in Nashville.” All three are excellent and well-worth checking out. I also really liked “Givin’ Into Love Again” and “Illusions of Love.”
The record as a whole is stamped with the Urban Cowboy sounds of the era, so tracks like “Dancin’ Romance,” which finds its roots in R&B are thrown into the mix. Also adventurous is “Spiders and Snakes,” which relies on a funky groove to drive the melody. The somewhat intriguing “Endangered Species” is a lush ballad that tastefully displaces their harmonies.
There seem to be more nods to traditionalism here than Occasional Hope found on the album’s predecessor, which makes for an enjoyable listening experience. There are some truly excellent moments here and much more to like than dislike. I would check out the whole album while paying particular attention to the album’s more worthy moments.
Grade: A-
Released in 1980, the Bellamy Brothers’ fifth studio album does not sound very country and is certainly a long way from traditional, but appealed to radio and record buyers in the urban cowboy era, and cemented their star status.
Both the single hit #1 on the Billboard country charts. I did not like the lyrics of ‘Sugar Daddy’ at all, although it is quite pretty melodically with an attractive arrangement. ‘Dancin’ Cowboys’ has a pleasant lilting melody and a steel drum effect, and is one of the duo’s better remembered songs.
There are a few more country moments. ‘Comin’ Back For More’ is a lovely ballad about the ups and downs of a relationship which is strong at its core. ‘Let Me Waltz Into Your Heart’ is a gentle love song ornamented with steel guitar, which is my favorite track.
‘Dead Aim’ is very pop-influenced and not very interesting. I strongly disliked ‘Naked Lady’, another very pop number.
‘Foolin’ Around’ is a midpaced quite catchy rather poppy song about teenagers in love, with a faintly comedic edge – filler, but not bad. ‘I Could Be Makin’ Love To You’ is pleasant sounding about a musician missing his sweetheart, but the hook underwhelms. ‘You Can Get Crazy With Me’ is a nice love song.
‘Fast Train Out Of Texas’ is a pacy story song about a bad boy from Amarillo spending his life running from the side effects of his love life, which is quite entertaining.
This isn’t really a record I would return to, but it was all well done and if you like the Bellamy Brothers in general this would be worth checking out.
Grade: B-
The duo’s debut was only a modest country hit but an international pop smash.
The Bellamy Brothers made their debut in 1976 with “Let Your Love Flow”, which was a major pop hit domestically and internationally, reaching #1 on the pop charts in the US, the UK, Germany, Switzerland, and Australia. It was, however, only a modest success on the country charts, leveling out at #21 in the US and #42 in Canada. It was also followed by a lengthy dry spell, which found the brothers in danger of being written off as one-hit wonders.
Although the Bellamys reached the Top 20 on the country charts twice in 1978, the drought ended officially the following year with the release of “If I Said You Had a Beautiful Body Would You Hold It Against Me”, written by David Bellamy and inspired by a double entrendre made famous by Groucho Marx. It reached #1 on the country charts in the US. It also reached #39 on the Hot 100, marking the duo’s fourth and final appearance on that chart. It also performed well overseas, reaching the Top 5 in Switzerland and the UK, and #12 in Australia. More importantly, it was the first in a long line of mostly Top 10 country hits that continued until 1990.
The Two and Only, the album from which “If I Said You Had a Beautiful Body” came, produced one other hit, also written by David Bellamy, “You Ain’t Just Whistlin’ Dixie”, a ballad that pays homage to the south and solidified the Brothers’ country credentials — the subject matter and production are more traditional than the preceding single, which comes across a bit as MOR with a bit of steel guitar. “You Ain’t Just Whistlin’ Dixie” peaked at #5. It is very good, but it is not one of the duo’s better remembered tunes today. I don’t recall ever hearing it before.
By 1979 it was no longer standard practice for country acts to pad their albums with filler that consisted mostly remakes of other artists’ recent chart hits. The Two and Only consists primarily of original material, with eight of its ten songs written by either David or Howard Bellamy. The two outside songs are “May You Never” written by John Martyn and “Loving On” by Ben Peters. The former is one of my favorites and is a rare example of both brothers singing lead together.
“Ole Faithful”, written by Howard and featuring him on lead vocals, is the album’s most traditional track and the only one to feature a fiddle. It’s not what country radio was looking for in 1979 (or now) but it is an excellent song. The closing track “Wet T-Shirt” a David composition, could be said to be a precursor of bro-country with its references to beaches, beer and “clinging and tight” clothing, but it is much more tastefully executed than more contemporary examples and only the most prudish among us would be offended. It’s by no means the album’s strongest track but since we weren’t being force-fed a steady diet of such songs, it is quite tolerable.
I’ve never delved too deeply into the Bellamy Brothers catalog up to now, but I am quite impressed with the quality of the songs on this album, and how well they have stood the test of time. The album is available for streaming and is certainly worth a listen.
Grade: A-
Our December Spotlight Artists are the Bellamy Brothers, Howard (born 1946) and David (born 1950). The Brothers have been around seemingly forever, yet remain vital and innovative artists to this day.
I first became aware of David Bellamy when his name was listed as co-writer on Jim Stafford’s 1974 hit “Spiders & Snakes”, a #3 US pop hit that achieved success in a number of countries. As a recording group the Bellamy Brothers hit pay dirt in 1976 when “Let Your Love Flow” became a massive world-wide hit. Interestingly enough, the song was not authored by the Bellamy Brothers, having been penned by Larry Williams, a roadie for Neil Diamond. Both Neil Diamond and Johnny Rivers passed on the song.
To me “Let Your Love Flow” sounded like a country song, even If the original instrumentation wasn’t especially country. The song went #1 pop and adult contemporary, and reached #21 on the country charts, suggesting that some disc jockeys felt the same way about the song as I did. WHOO-AM in Orlando played the song in heavy rotation. The song would achieve at least top ten chart status throughout most of Europe and would succeed in South Africa, New Zealand and Australia as well.
Since then, the Bellamy Brothers have achieved many US and International hits. Their music is quite melodious, their harmonies are tight and they have an interesting sense of humor which has manifested itself many of their songs. Although their US chart action has cooled off since 1990, their strong sense of melody continues to appeal to European audiences where they remain major stars, with hit albums even after 2010. They have been particularly successful in German speaking countries where a form of sentimental pop music called “Schlager” remains popular and in Scandinavia where similar pop music tastes prevail. Many of their albums intended for European consumption have never been released in the US, and they have had at least a dozen hit singles in Europe of songs never released at all in the US.
They also have had success outside of Europe – in November and December 2017 alone they have appeared (or will appear) in South Africa, Namibia and Sri Lanka before returning home in early December.
When not touring the Bellamy Brothers live on the family ranch in Derby, Florida, near San Antonio, Florida. While I have never met the Bellamy Brothers, I have met their mother when I was an insurance underwriter quoting an insurance policy for the ranch. She was quite a lady and if her sons are anything like her, they must be fine people indeed. They are known for their involvement in charitable work for Florida’s environment (and other causes), and have played many tours for US military personnel abroad.
I digress – but the Bellamy Brothers have put together a sizeable catalog over the last forty years, and while we will be touching upon a number of albums during December, don’t think for a minute that the albums we don’t get to aren’t worthwhile. Although not all of their albums are classics, they all have their moments, so kick back while we shine our December Spotlight on the Bellamy Brothers.
1957 (Sales): Gone — Ferlin Husky (Capitol)
1957 (Jukebox): Gone — Ferlin Husky (Capitol)
1957 (Disc Jockeys): Gone — Ferlin Husky (Capitol)
1967: Lonely Again — Eddy Arnold (RCA)
1977: It Couldn’t Have Been Any Better — Johnny Duncan (Columbia)
1987: Kids of the Baby Boom — The Bellamy Brothers (MCA/Curb)
1997: Rumor Has It — Clay Walker (Giant)
2007: Wasted — Carrie Underwood (Arista)
2017: Body Like a Back Road — Sam Hunt (MCA)
2017 (Airplay): Road Less Traveled — Lauren Alaina (Mercury/Interscope)
1956 (Sales):Singing the Blues — Marty Robbins (Columbia)
1956 (Jukebox): Singing the Blues — Marty Robbins (Columbia)
1956 (Disc Jockeys): Singing the Blues — Marty Robbins (Columbia)
1966: There Goes My Everything — Jack Greene (Decca)
1976: Sweet Dreams — Emmylou Harris (Reprise)
1986: Too Much Is Not Enough — The Bellamy Brothers with The Forester Sisters (MCA/Curb)
1996: Little Bitty — Alan Jackson (Arista)
2006: Want To — Sugarland (Mercury)
2016: Blue Ain’t Your Color — Keith Urban (Capitol)
2016 (Airplay): Song For Another Time — Old Dominion (RCA)
Last month our friend Thomas Kobler reported on a recent Suzy Bogguss concert in Switzerland. Our current Spotlight Artist Pam Tillis has also just paid a visit to that beautiful country, and Tom has kindly shared another review with us.
We must have been real good here last year, since I cannot think of any other reason, why on earth Lorrie Morgan in March, Suzy Bogguss in April and now Pam Tillis in June all should find their way across the Atlantic to Switzerland to play us some of the best 90’s country that there is.
So far, the last one in line of those 90’s greats was Pam Tillis on the big stage in the huge white tent of the 20th (Anniversary) International Trucker & Country Festival in Interlaken on June 29. If the name of that place rings a bell, you might have heard it on TV. It is the pretty resort in between two alpine lakes just around the corner from that dramatic north face of the Eiger mountain, where Clint Eastwood had been hanging around quite a bit in the 1975 spy thriller The Eiger Sanction.
As usual at festivals, the slots can be more or less favourable. Pam Tillis’s slot was a slightly tricky one. She came on after the Bellamy Brothers – whose country music is quite similar to popular German hit-radio tunes except for pedal steel and language. (The Bellamy Brothers’ 70‘s hit song ‘Let Your Love Flow’ is the biggest German hit single of the last forty years or so, according to a representative audience poll in a popular German TV-show a couple of years ago. Here it is called ‘Ein Bett im Kornfeld’, sung by German singer Jürgen Drews.) Hence, coming on after them and their Swiss friends – which gave them almost something like “home field advantage” – at around 11 p.m. was probably not the most desirable slot.
However, Pam Tillis could not be bothered and hit the stage with two more women beside and a further four musicians behind her. In a glittery white blouse, matching dangly earrings and glittery tight blue jeans, tucked into – you might have guessed – glittery black knee-high boots, she looked as shiny, proper and attractive as it could get.
Consequently, she started her show warning not to leave anything hanging around – especially not your heart – only to think over the whole mess love life can bring a couple of minutes later and ending up wondering: ‘How Gone Is Goodbye’. It most likely was not very far, but far enough to consider flirting with the ‘Shake The Sugar Tree’ experience. In the end, things sounded as if they got worked out because next came ‘Sweetheart’s Dance’ just before things turned somewhat sour again, making her shout ‘Don’t Tell Me What To Do’, and coming to the conclusion that ‘Life Has Sure Changed Us Around’. . So far, so good. In a pre-concert interview Pam Tillis told CountryStyle:
“I love to express all kinds of feelings, be it through music or acting.”
No doubt, I thought after this opening selection of songs.
Then came a series of covers consisting of ‘Ring Of Fire’, ‘Walking After Midnight’ and Dolly’s ‘Do I Ever Cross Your Mind’. Had not Carlene Carter performed an absolutely stunning ‘Ring Of Fire’ the night before, I might have enjoyed Pam’s take more.
Turning back to her own material, she picked things up with the never recorded ‘Dance To The Sweet Rhythm Of Mine’, and reiterating her heart‘s desire unmistakably when continuing, ‘I Sure Could Use Your Company Now’. Something ‘Blue Rose‘s’ been dreaming of too, right afterward. Still one of those songs that almost make you want to thank the good Lord for the pedal-steel and Pam Tillis a lot.
After that, the concept of the playlist got more difficult to read, but ‘Calico Plains’, ‘Band In The Window’, ‘Put Yourself In My Place’, ‘Train Without A Whistle’ and the funky-bitter and witty ‘Cleopatra Queen Of Denial’ did not make you miss any greater underlying scheme at all. She delivered these songs grippingly, supported by a fine band in which the multi-talented Mary Sue Englund stood out playing second fiddle, keyboard and acoustic guitar as well as providing background vocals and Lorrie Morgan’s part in the duet ‘I Know What You Did Last Night’ from the remarkable Grits and Glamour song catalog. In fact, I found it quite difficult to read my hastily scribbled notes for this review because I was somewhat afraid of missing a single moment of that part of the show.
After ‘Early Memories’, a running around ‘Pony’, the insightful ‘I Know What You Did Last Night’ and a good look at her ‘Vida Loca’ in general, it was almost 1 a.m. when her doubts about whether ‘Memphis’, the southern summer nights or just her and him being a little frisky were to blame for a doubtless great time there. Closing the night with wanna holding hands Beatles-style a little later was a rather charming, innocent and fitting encore in the light of what had happened there in Memphis.
Well, what really can you say after such a show? I felt, it might have been an even better concert than perhaps some during her country radio heydays in the 90’s had been, for it included so much of the music from a long and distinguished career of a wonderful artist and most charming person (with quite a particular taste when it comes to sunglasses, I found out at the media event). Or inversely: If Pam Tillis and her band had such a good time in Switzerland as the fans around me and I had during her concert – they must have had a blast.
1953 (Sales): Kaw-Liga — Hank Williams (MGM)
1953 (Jukebox): Kaw-Liga — Hank Williams (MGM)
1953 (Disc Jockeys): Kaw-Liga — Hank Williams (MGM)
1963: Don’t Let Me Cross Me Over — Carl Butler & Pearl (Columbia)
1973: Keep Me In Mind — Lynn Anderson (Columbia)
1983: When I’m Away From You — The Bellamy Brothers (Elektra/Curb)
1993: When My Ship Comes In — Clint Black (RCA)
2003: Have You Forgotten? — Darryl Worley (DreamWorks)
2013: Sure Be Cool If You Did — Blake Shelton (Warner Bros.)
2013 (Airplay): Sure Be Cool If You Did — Blake Shelton (Warner Bros.)
My Kind of Country 