My Kind of Country

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

Tag Archives: The Hollies

Album Review: Buddy Miller – ‘Poison Love’

51qFXeDUyiL._AA320_QL65_Buddy Miller and I are contemporaries, Buddy being five months younger than I am, meaning that we probably listened to a lot of the same music growing up. If this album is any indication, I am certain that we did.

Under slightly different circumstances he might have been a country star during the 1970s like Johnny Rodriguez (ten months older than Buddy) or during the 1980s like George Strait (four months older than Buddy). Instead Buddy took a while to reach solo artist status, working for years in various bands for various other stars, most notably Emmylou Harris.

Poison Love might be categorized as a country album or as an Americana album, although with steel guitar on nine of the thirteen tracks, I’m inclined to call it country. Miller actually covers three classic country tunes on the album, but I initially thought there were a couple of more since several of the songs Buddy composed used the titles of old country classics (song titles cannot be copyrighted), those being being “Draggin’ The River” and “I Can’t Help It”.

The album opens up with a song composed by Roger Miller and George Jones titled “Nothing Can Stop Me”. I don’t think George ever issued this as a single, so I think it possible that Buddy came to the song via an early 1970s recording by Patsy Sledd, who was an opening act for George and Tammy when they had their Plantation Music Park in Lakeland, Florida. Anyway, Buddy does a nice job with this up-tempo country number. Fiddle and steel guitar abound along with electric guitar the way it should be played. If you want to hear a quintessentially happy upbeat country romp, this song is it:

I gotta get up, I gotta get goin’, rain or shine, sleetin’ or snowin’
Nothing can stop me, stop me, stop my loving you
Wander through woods, climb a high mountain
Love’s in my heart like water’s in a fountain
Nothing can stop me, stop me, stop my loving you

Cross the fire, walk through the river, you’ll be the taker and I’ll be the giver
I’ll give you lovin’, lovin’, honey that’s what I’ll do
Climb a big wall, I’d tear into pieces, I gotta get to your loving kisses
Nothing can stop me, stop me, stop my loving you

 Next up is “100 Million Little Bombs”, definitely not a country song:

Three dollar bombs a 100 thousand more

Steps of a child and the ground explodes

You can’t clear one before another reloads

To ratchet up the ante again.
They’re cheap and they’re simple

They’re green and black

They’ll take you right down on a one way track

We’ve gone so far now that we can’t get back

And we still won’t stop this train


The sound of the song is pleasant enough, although the song is too political for country radio, even today. This is followed up by “Don’t Tell Me” a more conventional country song. Both of these songs were composed by Buddy and his wife Julie Miller and feature harmony vocals by Emmylou Harris.
    
 The title track is “Poison Love” a Johnnie Wright and Jack Anglin classic (Johnnie was Kitty Wells’ husband for 60+ years). Johnnie & Jack did the song with a rumba beat whereas Buddy’s instrumentation is more that of Cajun music. It’s a great recording, possibly my favorite track on the album. Steve Earle sings with Buddy on this track.

Next up is a Buddy & Julie Miller collaboration, “Baby Don’t Let Me Down”. I like the song although I think the electric organ adds nothing to the song:

Start up the engine and get back home

Hurry go tell mother

Johnny got a gun to shoot a squirrel

He put down your brother

Daddy ain’t nowhere to be found
 It’s getting way past midnight

Momma she’s left here to cry alone

While I steal a kiss in the moonlight


”Love Grows Wild” is another Buddy and Julie co-write, this one with a more bluegrassy feel thank to Tammy Rogers on fiddle and mandolin.

Jim Lauderdale joined Buddy in writing “Love In The Ruins” a very country number with plenty of fiddle and steel:

Love in the ruins

After the fall

What were we doing not thinking at all

I’ll take the chair for there’s no one to blame

Someone just called me or was that just your name

But regret is a debt that I just can’t pay

Cause it would be more than I could ever make

Turn left when we get to that place in the road

Or we’ll be on the one we shouldn’t take

“Draggin’ The River” is a pretty good song, although not as good as the Warner Mack song of the same title. A bit morose, this song can be interpreted in several ways, so I’ll let you pik your own interpretation. This song strikes me as more Americana than county:

Go down to the water and listen for a sound

Something like the moaning of a dove

That’s where I do my crying while I’m searching for a sign

Draggin’ the river of our love
Did she bear some secret sorrow I could never know
 T
hat why my heart was not enough
 Now she’s left me looking for a trace of what we had

Draggin’ the river of our love

If you think the Roosevelt Jameson composition “That’s How Strong My Love Is” seems familiar, you are probably correct, as the song was a powerful song in the hands of both the original recording artist O.V. Wright (1964), and the soulful titan who covered it in 1965, Otis Redding. It would be nearly impossible to be as soulful as either Wright or Redding, and Buddy certainly isn’t, but he gives the song a very convincing interpretation. The song has been recorded numerous times and Buddy’s version stacks up well against any of the other covers I’ve heard (Rolling Stones, Hollies, Percy Sledge, Bryan Ferry, Taj Mahal):

I’ll be the weeping willow drowning in my tears
And you can go swimming when you’re here
I’ll be the rainbow when the tears have gone
Wrap you in my colors and keep you warm

‘Cause that’s how strong my love is
That’s how strong my love is
That’s how strong my love is
That’s how strong my love is

The album closes out with a pair of Buddy and Julie collaborations in “Lonesome For You” and “I Can’t Help It” and a Buddy Miller co-write with Jim Lauderdale on “Love Snuck Up”. All three songs hew country.

Everything considered Poison Love is a solid country album, for a person who would have few actual hits but would ultimate carve a wide path in country music. The of the thirteen songs are solidly country, and the other three are close enough to country that even a diehard traditionalist such as myself found the album entirely satisfying. Great songs, great musician and some pretty good vocalists.

Grade: A+

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Album Review: The Mavericks – ‘The Mavericks’

3148RANN18LIn September 2003, The Mavericks released an eponymous album, which was the first after leaving MCA and their last before they disbanded after their 2004 tour.

Since their inception in 1989, The Mavericks had been an eclectic band, though most of their major label work fit firmly in the mainstream country of its day. The Mavericks, however, which was released on the British-based Sanctuary Records, is in no way, shape or form a country album, nor — to its credit — does it pretend to be.

The band had enjoyed some international success a few years earlier with Trampoline. On the surface, The Mavericks, appears to be an attempt to appeal to mainstream pop fans in Europe, but I can’t find any data on how well it actually sold there. Stateside, it made very little impact, with only one of its three singles — a remake of “The Air That I Breathe”, a 1974 pop hit for The Hollies, appearing on the country charts, peaking at #59.

This is an album that has to be approached with the right frame of mind. Once the listener accepts that it is not a country album, he/she will likely conclude that it is a pretty good pop album. Some of the songs have a Latin influence, but mostly this is reminiscent of 1960s pop, before the lines between pop and rock became blurred.

There are a few names that will be familiar to country fans among the songwriting credit: Rick Trevino co-wrote “In My Dreams”. His own version appears on his 2003 album of the same name, which was produced by Raul Malo. Jaime Hanna, son of The Nitty Gritty Dirt Band’s Jeff Hanna, co-wrote several tracks with Raul Malo and Alan Miller. And surprisingly, Dale Watson, one of the most outspoken critics of “poptry” music, had a hand in writing the Latin-flavored “I’m Wondering.”

My favorite track is the catchy earworm “Would You Believe”, which sounds like something from one of my Dad’s old Herman’s Hermits albums. Willie Nelson joins the group for “Time Goes By”, which is less Roy Orbison-esque than most of the album. It wasn’t released as a single, but seems like it could have had a shot at being a hit, although country radio had pretty much abandoned The Mavericks by now.

This isn’t the type of music I usually listen to and it’s probably not for hardcore country fans, but it does remind me of the kind of pop music that could be heard on the radio when I was growing up, and it makes a nice change of pace. It’s not essential listening, but loyal Mavericks fans will enjoy it.

Grade: B

EP Review: Clint Black – ‘The Long Cool EP’

longcoolepBy the mid-2000s, the pressures of parenthood and running his own label had taken their toll on Clint’s recording career and songwriting, and his own musical output decreased considerably. In 2008 he issued his most recent collection of new music, The Long Cool EP, which was a digital-only release.

Included in the three-song collection was “The Strong One”, Clint’s single from the previous year. It was only the second single of his career that he did not have a hand in writing (the other one was his 1993 cover of The Eagles’ “Desperado”). A heartfelt tribute to his better half, the so-called “weaker sex”, “The Strong One” was penned by Bill Luther, Don Poythress and Chuck Jones. Less traditional than Clint’s early work, the recording embraces a softer sound that was more aligned with the preferences of contemporary country radio. Without the strong promotional support of a major label, “The Strong One” underperformed on the charts, peaking at #37. It is, however, one of the higher-charting singles from his stint with Equity, second only to 2004’s “Spend My Time” which reached #16.

Clint moved even further away from his country roots with the next single, from which the EP’s title is derived. “Long Cool Woman” has been a pop hit for The Hollies in 1972. I’ll admit to being completely ignorant of the original version, but I liked Clint’s take on the song a lot. Though it wasn’t the traditional country he was known for, it wasn’t as big an artistic stretch as one might think at first, and he sounded more refreshed and energized than he had in quite some time. It died at #58 and is the last single that Clint has released to date.

The EP’s remaining track is “You Still Get To Me”, a duet with Lisa Hartman-Black, which attempts to recreate the success the pair had originally enjoyed with “When I Say I Do” nearly a decade earlier. It is not a bad song, but it is not particularly memorable.

After purchasing The Long Cool EP from Amazon, I found out that the iTunes version contained a bonus track, a cover of Harry Nilsson’s “Everybody’s Talkin'”, which I’ve never heard.

The Long Cool EP was released in March 2008 and was intended to bridge the gap until Clint’s next album, which was slated for release later that year. Unfortunately, Equity Music Group’s financial difficulties delayed the release of the album, and in December the struggling label closed its doors, unable to withstand the loss of its one truly successful act, Little Big Town. None of the tracks from the EP is commercially available at the moment, to the best of my knowledge, but perhaps one day they will resurface on a compilation album.

Grade: B+