My Kind of Country

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

Tag Archives: Waylon Jennings

Week ending 4/29/17: #1 singles this week in country music history

1957 (Sales): Gone — Ferlin Husky (Capitol)

1957 (Jukebox): Gone — Ferlin Husky (Capitol)

1957 (Disc Jockeys): Gone — Ferlin Husky (Capitol)

1967: Need You — Sonny James (Capitol)

1977: She’s Got You — Loretta Lynn (MCA)

1987: Rose In Paradise — Waylon Jennings (MCA)

1997: One Night at a Time — George Strait (MCA)

2007: Wasted — Carrie Underwood (Arista)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Any Ol’ Barstool — Jason Aldean (Broken Bow)

Classic Rewind: Johnny Cash and Waylon Jennings – ‘I Wish I Was Crazy Again’

Album Review: Jessi Colter – ‘Out of the Ashes’

Out of the Ashes was released in 2006, four years after the death of Waylon Jennings, and with the exception of a 1996 children’s collection, was Jessi Colter’s first album in 22 years. She teamed up with Don Was, who had a reputation for reinvigorating the careers of other veteran artists both inside and outside of country music. He was best known for his work with Bonnie Raitt and had also worked with Waylon, Willie Nelson and Kris Kristofferson both as individuals and as members of The Highwaymen.

Out of the Ashes is not a straight country album. It is heavy on blues and roots rock, with a touch of Gospel occasionally thrown into the mix. Jessi wrote or co-wrote nine of the album’s twelve tracks. It has an earthier sound than her earlier work and her voice sounds grittier but is still in fine form. It is a concept album but only in the very loosest sense. It is about grieving and eventually emerging from that grief and moving on. It opens with a cover of the Gospel song “His Eye Is on the Sparrow”, given a bluesy treatment, and moves on to the sassy, bluesy “You Can Pick ‘Em”. The piano-driven “The Phoenix Rises” is a beautiful ballad about rebirth and new beginnings and is my favorite. The similarly-themed mid-tempo “Out of the Rain”, performed with its writer Tony Joe White is an older song dating back to the 1980s. Waylon had supplied vocals on an unreleased version and they are incorporated into this version. It signals that Jessi has moved on and is ready to explore new relationships, and she takes the plunge headfirst on the steamy “Velvet and Steel”.

Other favorites include the ballad “The Canyon” — about a couple ready to go their separate ways, and told metaphorically from the point of view of a horse:

Don’t lay your bridle on my shoulder
Don’t bring your bit to my mouth
Don’t lay your blanket on my body
Just take your saddle and move out.

The album closes with another Gospel number “Please Carry Me Home”, performed with Jessi’s co-writer and son Shooter Jennings. The track had previously been included on a multi-artist anthology of songs inspired by the film The Passion of the Christ.

The only track I didn’t care much for was the cover of Bob Dylan’s “Rainy Day Women #12 & 35”, which seems slightly out of place, with its ambiguous references to people “getting stoned”. It’s not clear if this is a drug song or people being pelted metaphorically with stones, or both.

I wasn’t sure what to expect from this collection, but the more I listened to it the more I liked it and I ended up enjoying it much more than I expected to. It is available on streaming services and can also be downloaded or purchased on CD.

Grade: A-

Classic Rewind: Jessi Colter – ‘Without You’

Album Reviews: Jessi Colter and Waylon Jennings duets

There currently isn’t much available by this duo, and they did not record much together since their voices really didn’t blend all that well.

Leather & Lace was issued on vinyl & cassette by RCA in February 1981 and features the following ten songs:

01) You Never Can Tell (C’est La Vie)
02) Rainy Seasons
03) I’ll Be Alright
04) Wild Side Of Life
05) Pastels And Harmony
06) I Believe You Can
07) What’s Happened To Blue Eyes
08) Storms Never Last
09) I Ain’t The One
10)You’re Not My Same Sweet Baby

All American Country was issued on CD by BMG in 2003 and features the following ten songs:

Suspicious Minds
Under Your Spell Again
I Ain’t The One *
Storms Never Last *
Wild Side Of Life *
You Never Can Tell (C’est La Vie) *
Sight For Sore Eyes
I’ll Be Alright *
What’s Happened To Blue Eyes *
You’re Not My Same Sweet Baby *

Songs marked by * also appear on Leather & Lace.

There are only four actual duets on Leather & Lace (01, 04, 08, 09) with Jessi being solo on 02 and 06 and Waylon being solo on the remaining four songs.

All American County has the four duets on Leather & Lace plus “Suspicious Minds”, “Under Your Spell Again” and “Sight For Sore Eyes” are duets, meaning that the modern era CD is the better collection if you are looking for actual duets. This CD is still readily available, whereas Leather & Lace has been out of print for a long time.

Waylon & Jessi did not have a tremendous amount of chart success as a duet, with “Wild Side of Life” (a medley of Hank Thompson’s hit and Kitty Wells’ answer song) reaching #10 in 1981 and “Storms Never Last” reaching #17” in 1981. The only other top twenty hit was “Suspicious Minds”, the old Elvis #1 pop hit from 1969 reaching #2 in 1976.

Truthfully, while I am a big Waylon Jennings fan, neither of these albums is particularly satisfactory. I would regard the best song (found on both albums) as “You Never Can Tell”, a Chuck Berry song from 1964. The solo efforts on Leather & Lace (especially the Waylon tracks) are throw-aways so I would give Leather & Lace a C. I would give All American Country a B for having more duets and better songs.

Album Review: Jessi Colter – ‘Ridin’ Shotgun’

Jessi’s career slowed down in the late 70s as her radio success fizzled out and she and Waylon had their first (and only) child, Shooter, in 1979. However, in 1981 she recorded a popular album of duets with Waylon (Leather and Lace). This prompted her to return to the studio on her own account, and she resumed her deal with Capitol. Waylon shared production duties with Randy Scruggs.

Although jessi’s duets with Waylon had been hits, it turned out that country rado was now really only interested in jessi as Waylon’s wife. Her solo singles were roundly ignored, with the most successful release from this album, ‘Holdin’ On’, peaking at #70. This is a nice quite upbeat song about splitting up, written by Jessi and Waylon with Basil McDavid.

McDavid is the main co-writer for the album, with another five songs credited to him and Jessi. The charming love song ‘Ain’t Making No Headlines (Here Without You)’ about coping with separation was also covered by Hank Jr, with slightly altered lyrics.

Slightly different versions of the bluesy title track bookend the album. ‘Ridin’ Shotgun (Honkin’)’ features backing vocals and harmonica and ‘Ridin’ Shotgun (Tonkin’)’. ‘Hard Times And Sno-Cone’ is a little quirky; its precise meaning is unclear but with its references to a man who ‘called her a woman but he knew she was a child’, it may possibly have been inspired by Jennifer Harness, Jessi’s teenage daughter by her first marriage to Duane Eddy. She had had a baby at just 15, who Jessi and Waylon helped to raise alongside their own son Shooter, just a year older, and married soon afterwards. The most interesting of the McDavid co-writes is the airy ‘Jennifer (Fly My Little Baby)’, to and about Jennifer. Jennifer and Waylon both guest on vocals, making this a real family affair, with Jennifer singing:

Mama don’t worry about Jennifer
Jennifer’s gonna be fine
I know it won’t be easy
Mom I’m gonna give it a try
You gave me some dreams
Now I’ve got wings and I’m headed for the sky
I have the trust in you to have the faith in me
So come on won’t you watch me fly…

Jessi and Waylon then advise:

To all you mamas and daddies
Who have a Jennifer you love so
If you wanna hold on to her
First you gotta learn to let her go

Jessi throws in a pair of very current covers: Waylon’s 1981 hit ‘Shine’, and Corbin/Hanner’s spiritual ‘On The Wings Of My Victory’, later recorded by Glen Campbell. She also takes on a much older song, the delicately pretty ‘A Fallen Star’.

‘Somewhere Along The Way’, the only solo Jessi Colter composition on this album, is a subdued ballad about regret for past choices. Co-producer Randy Scruggs contributed ‘Nobody Else But You’, a pretty love song with a lilting melody.

The album is available on a three-album/double CD with Mirriam and That’s The Way A Cowboy Rocks And Rolls.

Grade: B+

Album Review: Jessi Colter – ‘That’s The Way The Cowboy Rocks and Rolls’

After detouring with religious and inspirational music on Miriam, Jessi Colter returned to originals for 1978’s That’s The Way The Cowboy Rocks and Rolls. Much like her previous releases, the album was co-produced by her husband Waylon Jennings.

The album arrived too late to capitalize on the success of either Wanted! The Outlaws or her #2 peaking duet with Jennings, “Suspicious Minds.” Thus, the two singles failed to gain any traction at radio. “Maybe You Should’ve Been Listening,” a gentle ballad, peaked at #45. The second and final single, “Love Me Back to Sleep” only reached #91. Jacky Ward would score a #7 hit with the title track, a beautiful steel-drenched mid-tempo number, in 1980.

The main problem with That’s The Way The Cowboy Rocks and Rolls is the album’s lack of commercial viability. The title track and opening number “Roll On” are the only two cuts that can pass as uptempo and either one would’ve been better choices for singles than what Capitol sent to radio. Colter also does well with “Black Haired Boy” and “My Cowboy’s Last Ride,” both very good story songs. The remainder of the album is good, but nothing terribly exciting.

Grade: B

Album Review: Jessi Colter – ‘Mirriam’

Though you’d never know it from the title, 1977’s Mirriam is a collection of inspirational and religious-themed tunes, all composed by Jessi Colter. Her chart success had tapered off since the high point she’d reached two years earlier with “I’m Not Lisa”, but but thanks to the success of 1976’s Wanted! The Outlaws, she had gotten back on the radio with “Suspicious Minds”, a duet with Waylon Jennings that had reached #2. It seems odd, therefore, that Capitol would follow up that success with a religious album which was bound to have more limited commercial appeal.

Like Jessi’s earlier Capitol albums, Mirriam (a title chosen to honor Jessi’s birth name), was produced by Ken Mansfield. This time, however, Richie Albright stepped as co-producer, a role previously held by Waylon. Waylon does appear in the musician credits, however, both as a guitarist and as a background vocalist on “I Belong to Him”, the album’s sole and non-charting single. Roy Orbison is also credited as a background vocalist on this track. Steel guitar great Ralph Mooney is once again onboard as well.

Some of the songs are more overtly religious than others. The opening track “For Mama” is, as the title suggests, a tribute to Jessi’s mother. “Put Your Arms Around Me” and “I Belong To Him” could be taken as either love songs or prayers, while others such as “God, If I Could Only Write Your Love Song” and “New Wine” are unquestionably spiritual. “There Ain’t No Rain” is a rollicking gospel number complete with a choir and is one of the album’s standout tracks, but I think “I Belong To Him” is probably my favorite.

Mirriam wasn’t as well received critically or commercially as Jessi’s earlier work, but it provides an interesting look at the more devotional side of country music’s premier female outlaw. While nothing here reaches the level of greatness, it’s an album that grows on the listener with repeated playings. It is available on a two-disc collection along with Jessi’s two subsequent albums That’s The Way A Cowboy Rocks and Rolls and Ridin’ Shotgun.

Grade: B

Album Review: Jessi Colter – ‘Diamond In The Rough’

Released in July 1976, Diamond In The Rough was Jessi’s third album for Capitol, and her third album release in eighteen months. Like her first two Capitol album, it reached #4 on Billboard’s Country Albums Chart. Unlike its two predecessors, it generated no significant hits – the only single released, “I Thought I Heard You Calling My Name”, died at #29. Basically sales-wise this album coasted on the success of the first two Capitol albums.

Since the last single from the prior album had died at #50, it is pretty clear that the forward momentum her career received from “I’m Not Lisa” had already been lost. From this point forward none of her solo albums would crack the top forty and none of her singles would reach top twenty status.

Diamond In The Rough
is not a bad album but I am not sure as to the identity of the target audience since the song selection seems rather random.

The title track “Diamond in the Rough” written by Donnie Fritts (a long-time veteran of Kris Kristofferson’s band) and Spooner Oldham, is a bluesy ballad that is much closer to being piano jazz than anything resembling country music.

“Get Back” a Lennon-McCartney composition, was a huge hit on both sides of the Atlantic in 1969, with Billy Preston’s energetic electric organ giving the song an energy that the Beatles had seemingly lost. Jessi’s rendition is not terrible, but is lethargic and not very interesting.

Better is Jessi’s “Would You Leave Now”, a lovely ballad, exquisitely sung by Jessi. The background features some gentle steel guitar amidst a light string accompaniment.

Although it was a massive hit, I never liked “Hey Jude”, the second Lennon- McCartney song on the album). Jessi sings it well, but at 7:16 the song is simply too long. Had she shortened it to about four minutes, I might have actually liked her gentle approach to the song, but at some point I simply lost interest – the only thing of interest in the coda is the fiddle.

Another Jessi Colter composition follows in “Oh Will (Who Made it Rain Last Night)”. This is another lovely ballad about the pain of leaving, this more of the folk variety rather than jazz. Jessi’s piano is impeccable and the song is quite lovely, just not country.

Oh Will who made it rain last night?
Who could take blue from my sky and paint it black night?
Who’s telling me to look so I’ll see the tears for years we will cry?
Talk to me Will.
You never told lies; who made it rain last night?

Lee Emerson’s “I Thought I Heard You Calling My Name” was the chart single from the album and is a country break-up song. I heard this song quite a bit upon its release and was surprised to find out later that this topped out at #29. There is an interesting story behind Lee Emerson’s death, but I won’t go into that here. Porter Wagoner and George Strait (Strait Out of The Box) both recorded the song.

I said goodbye to you this mornin’
With only these words to explain
I said I’d found someone I love better
But I still hear your voice call my name
I thought I heard you callin’ my name
Funny, I still feel this way.
Your voice seem so close, but I knew
That by now you were many miles away
I walk through the streets of the city
People passing by think it’s so strange
I’m talkin’ but there’s no one beside me
I thought I heard you call my name

“Ain’t No Way” by Tere Mansfield is a good country ballad which I think could have been a decent single. The problem for Jessi, is that she doesn’t have a really forceful voice, but on this song she gets across enough power to sell the song.

Obviously Jessi really loved Waylon, sticking with him through good times and bad times. “You Hung the Moon (Didn’t You Waylon)” is exhibit number one for this proposition. Too personal to be a single, the song leaves the listen with no doubts as to its sincerity.

You did hang the moon, didn’t you Waylon?
` You did hang that moon, didn’t you Waylon?
Weren’t you the one they called the seventh son?
You did hang the moon, didn’t you Waylon?

You take so many words and bring them all home with one
You walk into my room and it lights up like the sun
Each step you take leads a way for someone
And I know you’d never do love wrong

“Woman’s Heart is a Handy Place to Be” by Cort Casady and Marshall Chapman is a jog-along ballad with a story to tell about a charmer who can never be faithful, but whom the narrator wants anyway . Jessi does a nice job with the song, but Crystal Gayle also recorded the song to better effect.

He’s a charmer
He’s broken every heart that’s tried to hold him
It’s tearin´ me apart to know I want him
Knowin´ I can never tell him so

He’s a loner
Runnin´ from a friend to find a stranger
It makes me weak it makes me wonder
Will I ever make it on my own
Will I ever make it on my own

A woman’s heart’s a handy place to be
For a man afraid of givin’ and fightin´ to be free
Yes a woman’s heart’s a handy place to be
I just wish the heart that’s broken now was not a part of me

Ms Marshall Chapman has led an interesting existence (she is six feet tall and much more of a rock & roller than a country songsmith, but she has had considerable success in country music with Sawyer Brown having a major hit with Betty’s Being Bad”.

The album concludes with an unnecessary reprise of “Oh Will (Who Made it Rain Last Night)”. I would have much preferred an additional song.

This is a tough album to evaluate in that both of the Beatles’ covers were complete misfires and several of the songs seem to be out of context on this album.

Grade: C+

Album Review: Jessi Colter – ‘Jessi’

Released in January 1976, Jessi’s second Capitol album was produced by Waylon and Outlaw prouducer Ken Mansfield. The overall sound is distinctly more pop influenced than country to my ears.

The first single, ‘It’s Morning (And I Still Love You) is a fairly lush ballad about the morning after a one night stand, with the prospect that it might turn out to be more. It was a moderate success, peaking at #11 on the country chart. Jessi’s voice is stronger than usual on this. The second single, ‘Without You’, is a very intense song begging a lover not to leave, although the vocals are weaker in the up-tempo sections (verging on shouty in places) and much of the arrangement now sounds dated. It didn’t crack the top 40.

‘The Hand That Rocks The Cradle’ (not the better known hit of that name, but like every other song on the album a new Jessi Colter composition) is an uptempo bluesy rock number about a woman left home while her husband is out painting the town. ‘One Woman Man’ is a sultry demand for love from a potential partner with an extended brass arrangement. ‘Rounder’ is about loving a rogue, and I found it a bit repetitive.

I prefer Jessi on ballads, where her fragile voice makes her sound vulnerable. ‘Here I Am’ is a very nice love song with a tasteful arrangement which I enjoyed very much, and ‘Darlin’ It’s Yours’ is very pretty. The slow (and heavily strung in parts) ‘Would You Walk With Me (To The Lilies)’ and ‘I’ll See Your Face (In The Morning’s Window)’ are also quite good. Jessi’s vocals are shaky on the high notes of ‘All My Life, I’ve Been Your Lady’, another love song.

Grade: B-

Album Review: Jessi Colter – ‘I’m Jessi Colter’

12776715_f496After her debut failed to gain traction, Jessi Colter went a full five years between albums. She switched labels, from RCA Victor to Capitol Records, and released I’m Jessi Colter in January 1975. The record was co-produced by her husband Waylon Jennings and record executive Ken Mansfield.

Colter composed the entire project herself, which included lead single “I’m Not Lisa,” her most remembered song and biggest hit. The stunning ballad details the anguish of a woman in love with a man who still harbors feelings for his ex:

I’m not Lisa, my name is Julie

Lisa left you years ago

My eyes are not blue

But mine won’t leave you

‘Til the sunlight has touched your face

Not only did “I’m Not Lisa” top the country singles chart, but it hit #4 of the Billboard Hot 100, two major accomplishments that wouldn’t come her way again. Colter would crack the top five just once more with “What’s Happened To Blue Eyes,” the steel-laced second and final single from this album.

The remainder of the album is hit-or-miss, with a diversion into Memphis Soul that detracts from a majority of the tracks. These songs are well-executed, especially “Is There Any Way (You’d Stay Forever),” but the rest (“You Ain’t Never Been Loved (Like I’m Gonna Love You), “Come On In,” and “Love’s The Only Chain”) just aren’t to my taste. I summarily disliked the arrangement on “I Hear A Song,” but the ballad itself is quite lovely. “Storms Never Last” had much the same effect on me.

Colter’s strongest moments on the album are, not surprising, the country ones. “For The First Time” is a glorious slice of honky-tonk, a very welcomed change of pace. She’s even better on the stunning “Who Walks Thru Your Memory (Billy Jo),” the best track by a mile. The steel guitar perfectly frames her gorgeous vocal.

I’m not trying to suggest that I’m Jessi Colter is a bad album, it’s just extremely dated to modern ears, a victim of its era and a project designed to appeal to the popular trends of the time. While she never enjoyed solo success like this again, she struck gold a year later with an appearance along side her husband, Willie Nelson and Tompall Glaser on Wanted! The Outlaws. The album not only solidified the outlaw movement in modern country, but it was the first country album to be certified platinum.

Grade: B

Classic Rewind: Jessi Colter and Waylon Jennings – ‘I Ain’t The One’

Album Review: Jessi Colter – ‘A Country Star Is Born’

51sgd4uaavl-_ss500Whatever optimist gave this album its title jumped the gun just a little, for although it marks the official beginning of Jessi Colter’s recording career (not counting two prior singles issued under her birth name), it would be another five years before her commercial breakthrough that propelled her to stardom.  Released in 1970, A Country Star Is Born was her first and only solo album for RCA.  She was presumably signed to the label because her husband Waylon Jennings was already on its roster, but the album’s  lack of commercial success suggests to me that she perhaps was not a huge priority for RCA.

The album was produced by Chet Atkins and Waylon Jennings, and upon the first listening, one might be a bit confused as to why it didn’t perform better in the marketplace.   In order to understand why, one has to bear in mind the way it would have been perceived back in 1970.   The album follows the standard practice of the day of using one or two hit singles to drive sales and padding it with covers of recent hits for other artists and perhaps some original songs by the artist and/or producer.   In this case, the lead (and non-charting) single was one of Jessi’s original compositions “I Ain’t The One”, performed as a duet with Waylon.    The second single was “Cry Softly”, another Colter original that also failed to chart.  Its melody is somewhat similar to “I’m Not Lisa”, which would become her breakthrough career record a few years later.  It’s a decent song that might have enjoyed some success if a more established artist had released it.

Filling out the rest of the album are three more songs Jessi wrote — all credited to her real name Miriam Eddy:  the uptempo “If She’s Where You Like Livin'”, the mid tempo “Don’t Let Him Go”, and the bluesy “It’s All Over Now”, none of which were strong enough to be considered for release to radio.  Along with these originals are two excellent songs written by Harlan Howard, which might have had hit potential had they not been relatively recent releases for other artists.  “Too Many Rivers” had been a Top 20 pop hit for Brenda Lee in 1965 and “He Called Me Baby” had been a minor posthumous hit for Patsy Cline in 1964.  The latter would go on to be recorded by many other artists and would eventually (with a pronoun change) become a big hit for Charlie Rich in 1974.   The album’s best track “It’s Not Easy” had previously been recorded by its composer Frankie Miller.  “Healing Hands of Time” was a non-charting Willie Nelson single from 1965.

I enjoyed all of the album’s songs, but I get the distinct impression that RCA only made a half-hearted effort to promote it.  Pairing her up with Waylon for her first release was a reasonable strategy.  It’s surprising that “I Ain’t The One” didn’t at least enter the charts.  A great song it is not, but his star power at the time was sufficient that it should have garnered some attention from radio.  When it failed, it was almost inevitable that the next single would also tank, since Jessi Colter was still an unknown entity.  Why they didn’t have more songs to try and promote her is somewhat puzzling.

RCA released two more solo singles in 1971 and 1972  (not on this album) — including “I Don’t Want To Be a One Night Stand” which would become Reba McEntire’s debut single a few years later.  There were also two minor hit duets with Waylon (“Suspicious Minds” and “Under Your Spell Again”), but it would be five years and a label change later before the world learned who Jessi Colter was.

A Country Star Is Born is available for download and streaming and is worth a listen.

Grade: B+

Spotlight Artist: Jessi Colter

Our March spotlight artist has led a very interesting life indeed as she not only is an accomplished performer in her own right, but she has been married to two legendary figures in the world of music and has a son who is an active performer.

ditrlpBorn in Phoenix Arizona, in 1943, as Miriam Johnson, Jessi (as we shall refer to her in this article, although she did not use the ‘Jessi Colter’ sobriquet until sometime after 1968) began singing professionally after graduating from high school in 1961. Along the way, she met legendary guitar player Duane Eddy, whose family had moved to Arizona during the early 1950s.  Duane and Jessi were married in 1961. Jessi toured with Duane until their divorce in 1968, and had a pair of non-charting singles in 1961 on the Jamie label (Duane’s early label). It would be over a decade before she recorded again.

In 1969, Jessi met and married rising country star Waylon Jennings. With Waylon’s help, Jessi landed a recording contract with RCA and recorded an album titled A Country Star Is Born. Although the album and singles released from the album went nowhere, at least they got her face (and voice) back in front of country audiences. During this period she adopted her stage name, taken from her great grandfather Jesse Colter.

In January 1975, Jessi signed with Capitol Record where her first single “I’m Not Lisa” would prove to be her biggest hit, reaching #1 on the Billboard Country chart and #4 on the Billboard Hot 100. While she would never again reach such heights, the release of the RCA album Wanted: The Outlaws would raise her profile considerably.

I’m not sure that Jessi Colter ever really aspired to be a big star as she spent much of her time being Mrs. Waylon Jennings, touring and occasionally recording with him, and serving as mother to their only child Waylon Albright “Shooter” Jennings (Jessi also has a daughter by Duane Eddy).  She would only issue ten albums from 1970 – 2006, plus a few duet albums with Waylon. Although she had only a few top ten hits, she had an ear for interesting material, performed with grace, style and elegance.

We hope you enjoy our look back at the career of our March Spotlight artist Jessi Colter.

 

Album Review: Crystal Gayle – ‘Somebody Loves You’

51jizvcqjml-_ss500After several years of struggling, Crystal Gayle finally enjoyed her breakthrough Top 10 hit with 1974’s “Wrong Road Again”. The two subsequent singles from her debut album both failed build on that success, however, which must have been cause for concern at the time. She rebounded nicely, however, with her sophomore album, which was released in 1975. “Somebody Loves You”, one of three tracks penned by producer Allen Reynolds, reached #8. The album’s second single, “I’ll Get Over You”, the first of several hits written for her by Richard Leigh, became her first chart-topper in early 1976. The simple melody and lyric, beautifully sung, has always been one of my favorites.

Somebody Loves You followed the same basic formula as Crystal’s prior album — more polished than the music that hardcore traditionalists like big sister Loretta were putting out — but still quite country in comparison to Crystal’s later work. Allen Reynolds’ songs are among the best in the collection: the traditional-leaning “Before I’m Over You” and the oft-recorded “Dreaming My Dreams With You” which was made famous by Waylon Jennings. Crystal branches out a bit with the bluesy “Sweet Baby On My Mind”, which sounds very similar to “Night Life”, a 1963 hit for Ray Price penned by Willie Nelson. “I Want To Lose Me In You” by Jim Rushing and Marshall Chapman is a pretty but lyrically light number. The same could be said about “High Time”, which is little more than catchy album filler, but Lloyd Green’s steel guitar gives it a little extra oomph. Crystal and her husband Bill Gatzimos wrote one track for the album, the pleasant but forgettable “Coming Closer”.

Somebody Loves You was an important album in Crystal Gayle’s discography. It finally set her on track for consistent commercial success; during the next decade only two of her singles missed the Top 10. The album is also notable for some of its session personnel: the aforementioned steel guitar great Lloyd Green and background vocalists Janie Fricke, who would go on to have a successful solo career of her own, and Garth Funds, who later became a famous producer for Keith Whitley and Trisha Yearwood, among others.

This is a good album for those who are interested in hearing Crystal’s music before she started enjoying crossover success.

Grade: A

Best reissues of 2016

As always most of the best reissues come from labels outside the USA. In those cities that still have adequate recorded music stores (sadly a rare commodity these days) , it can be a real thrill finding a label you’ve not encountered before reissuing something you’ve spent decades seeking. It can be worthwhile to seek out the foreign affiliates of American labels for recordings that Capitol hasn’t reissued might be available on the UK or European EMI labels.

The fine folks at Jasmine Records (UK) can always be counted on for fine reissues:

SHUTTERS AND BOARD: THE CHALLENGER SINGLES 1957-1962 – Jerry Wallace
Jerry Wallace wasn’t really a country artist during this period, but he was a definite fellow traveler and a very popular artist and very fine singer. This thirty-two track collection includes all his early hits (except 1964’s “In The Misty Moonlight”) , such as million (and near million) sellers such as “How The Time Flies”, “Primrose Lane”, “There She Goes” and “Shutters And Boards”. From about 1965 forward his focus become more country and he would have two #1 county singles in the 1970s

THE NASHVILLE SOUND OF SUCCESS (1958-1962) – Various Artists
I will just list the tracks for this fine two disc set. This is a good primer on a very important era in country music

Disc 1 1958-1959
1 THE STORY OF MY LIFE – Marty Robbins
2 GREAT BALLS OF FIRE – Jerry Lee Lewis
3 BALLAD OF A TEENAGE QUEEN – Johnny Cash
4 OH LONESOME ME – Don Gibson
5 JUST MARRIED – Marty Robbins
6 ALL I HAVE TO DO IS DREAM – The Everly Brothers
7 GUESS THINGS HAPPEN THAT WAY – Johnny Cash
8 ALONE WITH YOU – Faron Young
9 BLUE BLUE DAY – Don Gibson
10 BIRD DOG – The Everly Brothers
11 CITY LIGHTS – Ray Price
12 BILLY BAYOU – Jim Reeves
13 DON’T TAKE YOUR GUNS TO TOWN – Johnny Cash
14 WHEN IT’S SPRINGTIME IN ALASKA (It’s Forty Below) – Johnny Horton
15 WHITE LIGHTNING – George Jones
16 THE BATTLE OF NEW ORLEANS – Johnny Horton
17 WATERLOO – Stonewall Jackson
18 THE THREE BELLS – The Browns
19 COUNTRY GIRL – Faron Young
20 THE SAME OLD ME – Ray Price
21 EL PASO – Marty Robbins

Disc 2 1960-1962
1 HE’LL HAVE TO GO – Jim Reeves
2 PLEASE HELP ME, I’M FALLING – Hank Locklin
3 ALABAM – Cowboy Copas
4 WINGS OF A DOVE – Ferlin Husky
5 NORTH TO ALASKA – Johnny Horton
6 DON’T WORRY – Marty Robbins
7 HELLO WALLS – Faron Young
8 HEARTBREAK U.S.A – Kitty Wells
9 I FALL TO PIECES – Patsy Cline
10 TENDER YEARS – George Jones
11 WALK ON BY – Leroy Van Dyke
12 BIG BAD JOHN – Jimmy Dean
13 MISERY LOVES COMPANY – Porter Wagoner
14 THAT’S MY PA – Sheb Wooley
15 SHE’S GOT YOU – Patsy Cline
16 CHARLIE’S SHOES – Billy Walker
17 SHE THINKS I STILL CARE – George Jones
18 WOLVERTON MOUNTAIN – Claude King
19 DEVIL WOMAN – Marty Robbins
20 MAMA SANG A SONG – Bill Anderson
21 I’VE BEEN EVERYWHERE – Hank Snow
22 DON’T LET ME CROSS OVER – Carl Butler and Pearl
23 RUBY ANN – Marty Robbins
24 THE BALLAD OF JED CLAMPETT – Lester Flatt, Earl Scruggs and the Foggy Mountain Boys

Another UK label, Hux Records, continues to issue delightful product:

HERE’S FARON YOUNG/ OCCASIONAL WIFE – Faron Young
After mucking about with more pop-oriented material for a number of years, these two fine Mercury albums (from 1968 and 1970) find Faron making his way back to a more traditional country sound. It must have worked for the singles from these albums (“’She Went A Little Bit Farther”, “I Just Came To Get My Baby”, “Occasional Wife” and “If I Ever Fall In Love (With A Honky Tonk Girl)” all returned Faron to the top ten, a place he had largely missed in the few years prior.

THE BEST OF TOMMY OVERSTREET – Tommy Overstreet (released late 2015)
Tommy Overstreet had a fine run of country singles in the early 1970s, most of which are included in this albums twenty-six tracks, along with about eight album tracks. While Tommy never had a #1 Billboard Country song, four of his song (“Gwen-Congratulations”, “I Don’t Know You Any More”, “Ann, Don’t Go Running” and “Heaven Is My Woman’s Love”) made it to #1 on Cashbox and/or Record World. Tommy’s early seventies records sounded very different from most of what was playing on the radio at the time.

Hux only releases a few new items per year, but in recent years they have reissued albums by Johnny Rodriguez, Connie Smith, Reba McEntire, Ray Price and others.

http://huxrecords.com/news.htm

Humphead Records releases quit a few ‘needle drop’ collections which our friend Ken Johnson has kvetched. The bad news is that for some artists this is necessary since so many masters were destroyed in a warehouse fire some years ago. The good news is that Humphead has gotten much better at doing this and all of my recent acquisitions from them have been quite good, if not always perfect.

TRUCK DRIVIN’ SON OF A GUN – Dave Dudley
This two disc fifty-track collection is a Dave Dudley fan’s dream. Not only does this album give you all of the truck driving hits (caveat: “Six Days On The Road” and “Cowboy Boots” are the excellent Mercury remakes) but also key album tracks and hit singles that were not about truck driving. Only about half of these tracks have been available previously

BARROOMS & BEDROOMS : THE CAPITOL & MCA YEARS – Gene Watson
This two disc, fifty-track set covers Gene’s years with Capitol (1975-1980) and MCA 1980-1985. Most of the tracks have been available digitally over the years, but the MCA tracks have been missing in recent years. The collection is approximately 70% Capitol and 30% MCA. These are needle drop but the soiund ranges from very good to excellent. There are a few tracks from the MCA years that have not previously been available in a digital format, but most of the material will be familiar to Gene Watson fans. Of course, if you buy this collection and are not already a Gene Watson fan, you will become one very quickly. I would have preferred more tracks from the MCA years since most of the Capitol tracks have been readily available, but the price is right and the music is timeless.

The folks at Bear Family issued quite a few sets this year; however, very little of it was country and none of it essential. There is an upcoming set to be issued in 2017 that will cover the complete Starday and Mercury recordings of a very young George Jones. I’m sure it will be a terrific set so be on the lookout for it. We will discuss it next year.

Although not essential FERLIN HUSKY WITH GUESTS SIMON CRUM AND TERRY PRESTON is a nice single disc entry in Bear Family’s Gonna Shake This Shack Tonight series. Simon Crum, of course, was Ferlin’s comedic alter-ego, and Terry Preston was a stage name Ferlin used early in his career. The set contains thirty-two tracks of country bop, proto-rockabilly and comedy that should prove enjoyable to everyone, along with Bear’s usual impeccable digital re-mastering and an informative seventy-two page booklet.

I don’t know that the music available from Cracker Barrel can always be described as reissues since some of it has never been commercially available before.

During the last twelve months we reviewed WAYLON JENNINGS – THE LOST NASHVILLE SESSIONS

Our friend Ken Johnson helps keep the folks at Varese Vintage on the straight and narrow for their country releases

THAT WAS YESTERDAY – Donna Fargo
This sixteen track collection gathers up Donna’s singles with Warner Brothers as well as two interesting album tracks. Donna was with Warner Brothers from 1976 to 1980 and this set is a welcome addition to the catalogue.

FOR THE GOOD TIMES – Glen Campbell
This sixteen track collections covers the 1980s when Glen was still charting but no longer having huge hits. These tracks mostly were on Atlantic but there are a few religion tracks and a song from a movie soundtrack from other sources. For me the highlights are the two previously unreleased tracks “Please Come To Boston” (a hit for Dave Loggins) and the title track (a hit for Ray Price).

SILK PURSE – Linda Ronstadt
This is a straight reissue of Linda’s second Capitol album, a fairly country album that features her first major hit “Long Long Time” plus her takes on “Lovesick Blues”, “Mental Revenge” and “Life’s Railway To Heaven”

On the domestic front Sony Legacy issued a few worthy sets:

THE ULTIMATE COLLECTION – Roy Orbison
This twenty-six track set covers Roy’s work on several labels including a couple of Traveling Wilbury tracks. All of these songs have been (and remain) available elsewhere, but this is a nice starter set.

THE HIGHWAYMEN LIVE: AMERICAN OUTLAWS
This is a three disc set of live recordings featuring the Waylon Jennings, Johnny Cash, Willie Nelson and Kris Kristofferson. To be honest, I prefer the studio recordings, but this is a worthwhile set

Meanwhile Real Gone Music has become a real player in the classic country market:

LYNN ANDERSON: THE DEFINITIVE COLLECTION
This two disc set provides a nice overview of one of the leading ladies of country music during the mid-1960s through the mid- 1970s, covering her work for the Chart and Columbia labels. Although not quite as comprehensive on the Chart years as the out-of-print single disc on Renaissance, this is likely to be the best coverage of those years that you are likely to see anytime soon on disc. Forty tracks (15 Chart, 25 Columbia) with excellent sound, all the hits and some interesting near-hits.

PORTER WAGONER: THE DEFINITIVE COLLECTION
There is a lot of Porter Wagoner material available, although much of it is either remakes or gospel songs from the Gusto family of labels. For a comprehensive look at Porter’s career it has been necessary to purchase one of the pricey (albeit excellent) Bear Family collections.

This two disc set has forty tracks, twenty seven of Porter’s biggest hits and thirteen key album cuts and shows the evolution and growth of Porter as an artist. While there is some overlap with the Jasmine set released last year (The First Ten Years: 1952-1962) about 60% of this set covers from 1963 onward, making it a fine complement to the Jasmine collection. This is straight Porter – no duets.

DIAMOND RIO: THE DEFINITIVE HITS COLLECTION
I’m not a real big Diamond Rio fan, but I have quite a few of their albums. If someone is interested in sampling Diamond Rio’s run of hits during the 1990s, this would be my recommendation. Fabulous digital re-mastering with all the major Arista hits such as “Meet in the Middle,” “How Your Love Makes Me Feel,” “One More Day,” “Beautiful Mess,” and “I Believe,” plus favorites as “Love a Little Stronger,” “Walkin’ Away,” “You’re Gone,” and one of my favorites “Bubba Hyde”.

EACH ROAD I TAKE: THE 1970 LEE HAZELWOOD & CHET ATKINS SESSIONS – Eddy Arnold
This is one of the more interesting collections put out by Real Gone Music.

The first half of the disc is the album Love and Guitars, the last album produced for Eddy by Chet Atkins. Missing is the usual Nashville Sound production, replaced by an acoustic setting featuring Nashville super pickers guitarists including Jerry Reed, Harold Bradley, Ray Edenton, and Chet himself, playing on an array of contemporary county and pop material.

The second half features the album Standing Alone, produced (in Hollywood) by Lee Hazelwood and featuring Eddy’s take on modern Adult Contemporary writers such as John Stewart, Steve Young, Ben Peters, and Mac Davis.

The album closes with four singles heretofore not collected on a domestic CD. On this album Eddy is cast neither as the Tennessee Plowboy nor the Nashville Sound titan. If you’ve not heard this material before, you might not believe your ears !

TAKE THIS JOB AND SHOVE IT: THE DEFINITIVE JOHNNY PAYCHECK
MICKEY GILLEY: THE DEFINITIVE COLLECTION

These albums were reviewed earlier. Needless to say, both are is highly recommended

Real Gone Music does not specialize in country music – they just do a good job of it. If you are a fan of jazz, folk, rock or even classical, Real Gone Music has something right up your alley

There is a UK based label that also calls itself Real Gone Music but in order to avoid confusion I will refer to this label as RGM-MCPS. This label specializes (mostly) in four disc sets that compile some older albums, sometimes with miscellaneous singles. The sound quality has ranged from fair to very good depending upon the source material, and the packaging is very minimal – no booklet, basically the names of the albums and very little more. Usually these can be obtained from Amazon or other on-line vendors. These are bargain priced and can fill holes in your collection

SIX CLASSIC ALBUMS PLUS BONUS SINGLES – Kitty Wells
This collection collects six fifties and early singles albums plus some singles. Much Kitty Wells music is available but if you want to collect a bunch of it cheaply, this is the way to go

The British Charly label doesn’t specialize in country records but they have a fabulous catalogue of rockabilly, including some very fine collections of recordings of the legendary Memphis label Sun. For legal reasons they cannot market much of their product in the USA but their product can be found on various on-line vendors. Their reissue of Townes Van Zandt albums is excellent.

I suppose I should again say a few words about the Gusto family of labels. It appears that Gusto is in the process of redesigning their website but plenty of their product can be found from other on-line vendors
As I mentioned last year, with the exception of the numerous gospel recordings made by Porter Wagoner during the last decade of his life, there is little new or original material on the Gusto Family of labels. Essentially, everything Gusto does is a reissue, but they are forever recombining older recordings into new combinations.
Gusto has accumulated the catalogs of King, Starday, Dixie, Federal, Musicor, Step One, Little Darlin’ and various other small independent labels and made available the music of artists that are otherwise largely unavailable. Generally speaking, older material on Gusto’s labels is more likely to be original recordings. This is especially true of bluegrass recordings with artists such as Frank “Hylo” Brown, The Lonesome Pine Fiddlers, Stringbean and Curley Fox being almost exclusive to Gusto.

After 1970, Gusto’s labels tended to be old age homes for over-the-hill country and R&B artists, and the recordings often were remakes of the artists’ hits of earlier days or a mixture of remakes of hits plus covers of other artists hits. These recordings range from inspired to tired and the value of the CDs can be excellent, from the fabulous boxed sets of Reno & Smiley, Mel Street and The Stanley Brothers, to wastes of plastic and oxides with numerous short eight and ten song collections.

To be fair, some of these eight and ten song collections can be worth having, if they represent the only recordings you can find by a particular artist you favor. Just looking at the letter “A” you can find the following: Roy Acuff, Bill Anderson, Lynn Anderson, Eddy Arnold, Leon Ashley, Ernie Ashworth, Chet Atkins and Gene Autry. If you have a favorite first or second tier country artist of the 1960s or 1970s, there is a good chance that Gusto has an album (or at least some tracks) on that artist.

Album Review: Travis Tritt – ‘A Man and His Guitar (Live From The Franklin Theater)’

travis-tritt-a-man-and-his-guitar-album-coverOne of the hallmarks of a great singer, as well as a great song, is the ability to strip away the slick production and studio wizardry, down to the bare bones: one voice and one instrument, without any loss of impact on the listener. It used to be taken for granted that most country music artists could do this, but in the age of music videos and autotune it’s become a dying art. Travis Tritt shows the younger generation how it’s done in his new live album, A Man and His Guitar, which was recorded over two nights in Franklin, Tennessee. The two disc set is being sold on CD and DVD exclusively through his website. The audio is also available for download through the usual online outlets (Amazon, iTunes, et al).

For the most part the album is like a greatest hits collection, with a few choice album cuts, and a few tributes to his musical influences, thrown in. Travis was never as traditional as most of his fellow Class of ’89 alumni, but his love and respect of country music have never been in doubt. While his real rockers like “Put Some Drive In Your Country” (which doesn’t appear here) wouldn’t translate well in an unplugged, it’s surprising how well others like “T-R-O-U-B-L-E’ do. It’s no surprise that the ballads — always his musical strength — work exceptionally well. “Help Me Hold On”, “Drift Off to Dream”, “Anymore”, and “Best of Intention (possibly my all-time favorite Travis Tritt song) are all represented here. So are mid- and uptempo numbers such as “It’ A Great Day to Be Alive”, “Here’s a Quarter (Call Someone Who Cares)” and “Modern Day Bonnie and Clyde”.

Singer-songwriter James Otto joins Travis on “Lord Have Mercy (On The Working Man)” and his good friend Marty Stuart shows up for “The Whiskey Ain’t Workin'” and an instrumental number called “Pickin’ At It”. There is a lot of banter, joking and reminiscing between the two old friends.

One of the biggest applause lines comes at the end of “Country Ain’t Country No More”, an underperforming single released in 2003 near the end of his chart reign. The song laments the loss of the country lifestyle and as it is winding up to a close, Tritt explains to the audience that there were some additional lyrics that were left off the studio version:

“You turn your radio on
And you wonder what for
‘Cause country ain’t country no more ….”

Amen, brother!

Tritt also spends a good bit of time paying homage to his musical heroes — Hank Williams, Jr (“The Pressure Is On”), Bobby Bare (“Five Hundred Miles Away From Home”), and Waylon Jennings (“Are You Sure Hank Done It This Way” and “Mamas Don’t Let Your Babies Grow Up To Be Cowboys”). He also does a very slowed-down version of “I Walk The Line”, which works surprisingly well as a ballad, but nothing can compare to Johnny Cash’s original version.

Travis’ voice sounds a little gravelly in spots but it hasn’t lost any of its power or its ability to touch the listener’s soul. This is a generous collection that plays for nearly two hours and there’s not a dull moment to be found. I highly recommend it.

Grade: A

Album Review: Waylon Jennings – ‘The Lost Nashville Sessions’

the-lost-nashville-sessionsDuring the 1960s and 1970s it was not uncommon for the various branches of the US Military to put together fifteen or thirty minute radio shows for use on country radio stations. Mostly these shows aired on smaller radio stations, usually in air slots where it was difficult for them to sell advertising. Some of these shows, such as Country Music Time (a recruiting tool for the US Air Force) and Country Cooking With Lee Arnold (a recruiting program for the Army Reserves) featured some chatter with the weeks’ musical guests followed by some recordings by the musical guest. Others, such as Navy Hoedown, featured chatter with the featured artist playing with the program’s band.

Waylon Jennings – The Lost Tapes comes from recordings made for an unspecified military recruiter program. The recordings were made at Scotty Moore’s Music City Recorders on July 13, 1970. They have not been commercially available before now.

The songs featured here are songs from the first half dozen years of Waylon’s career with RCA. In other words, these songs pre-date the “Outlaw” movement. The revelation here is that most of these songs were originally recorded with the heavily produced strings and chorus-laden production of the time, but here they are featured without those trappings. As such, this is a real treat for his fans.

Originally recorded, on a rush basis, with members of Waylon’s band, the tracks had problems with the bass and drums, so the tapes were turned over to Robby Turner, a former member of Waylon’s band for post-production work and overdubbing. Robby Turner overdubbed steel guitar, keyboards and dobro; Paul Martin played the bass parts and the drum kit; and Paul Martin, his wife Jamie, Robby Turner and Colene Walters adding vocal harmonies. Waylon plays guitar on the recordings.

The end result is early Waylon songs that sound almost as if they had been released during the ‘New Traditionalist’ era. The song list is as follows:

1. Only Daddy That’ll Walk The Line (#2 hit from 1968 – #1 in Record World)
2. The Chokin’ Kind (#8 hit from 1967)
3. Stop The World And Let Me Off (#16 hit from 1965 – Waylon’s first top 20 record)
4. Anita You’re Dreaming (#17 hit from 1966)
5. Just To Satisfy You (he & Don Bowman wrote – minor hit for Bobby Bare, 1965 & Waylon & Willie, 1982)
6. Green River (#11 hit in 1967)
7. Singer of Sad Songs (#12 hit from 1970)
8. Love of The Common People (title track for one of Waylon’s albums)
9. MacArthur Park (#23 hit from 1969, cover of a pop hit by Richard Harris)
10. Brown Eyed Handsome Man (#3 hit from 1970 – #1 in Record World, written by Chuck Berry)
11. Mental Revenge (#12 hit from 1967)
12. Time To Bum Again (#17 hit from 1966)
13. Sunday Morning Coming Down (Kristofferson wrote it, Cash released single in September 1970)
14. Young Widow Brown (Waylon wrote it and released it as an album track)

I picked up my copy at Cracker Barrel. The songs were all familiar to me but I really enjoyed hearing the frequently less orchestrated versions on this disc. Bass and drums are a little loud so I give this a B+, but the concept is definitely worthwhile, and more modern listeners than I likely will give this an A.

Grade: B+

Classic Rewind: Waylon Jennings – ‘I’ve Always Been Crazy’

Single Review: Willie Nelson & Time Jumpers – ‘Heartaches By The Number’

willie-nelson-for-the-good-times-a-tribute-to-ray-price-album-cover“Heartaches By The Number,” written by Harlan Howard, saw life as both a country and pop song in 1959. While Guy Mitchell scored a Billboard Hot 100 #1 with the song, it was Ray Price who brought it to #2 on the Hot C&W Sides Chart with the song’s original release. The track has now become a standard thanks to notable recordings by the likes of George Jones, Jerry Lee Lewis and Waylon Jennings, among others. Cyndi Lauper even featured it on her country album just this year.

Willie Nelson is giving the song a new lease on life as the first single from his For The Good Times: A Tribute to Ray Price, the culmination of a fifty-year friendship that endured until Price died in December 2014. His version is fantastic, thanks in no small part to the Time Jumpers, who provide the gorgeous steel and fiddle dominant musical accompaniment.

I have to say I was more than apprehensive about the pairing, which I thought looked intriguing on paper, but might come off as a mish-mash in execution. Nelson’s unique vocal delivery, especially in recent years, has made collaborating a challenge. But on “Heartaches By The Number” he sounds as vibrant as he has in years. Nelson more than holds his own with the energetic arrangement. The recording is crisp, clean, country and among the most splendid pieces of music I’ve heard all year.

“Heartaches By The Number” is also an outstanding jumping off point for the Time Jumpers, who’s fantastic Kid Sister drops early next month. Although he hates being singled out when talking about the band, these recordings go a long way in making up for the acquired taste of Vince Gill’s most recent solo album.

As if “Heartaches By The Number” and the addition of the Time Jumpers aren’t exciting enough, For The Good Times was produced by another legend, Fred Foster, who is entering The Country Music Hall of Fame this year. With those pedigrees, I cannot wait to hear what the rest of the album has in store.

Grade: A+