Classic Album Review-Porter Wagoner And Dolly Parton “Just The Two Of Us”
Heading into the holiday weekend with an album from arguably country music’s greatest duet, Porter Wagoner and Dolly Parton. “Just The Two Of Us” was their second album, together, entering the market in September, 1968; featuring two hit singles, and peaking at number five on the country album charts, while also making a brief appearance on the pop album charts.
The opening track, “Closer By The Hour”, is a decent, if not spectacular ballad, that highlights the vocal talents of both Porter and Dolly. It could be argued that of all of the duets in country music history, none had the perfect voice melding that Porter And Dolly did. It’s as if their voices were specifically designed to sing together.
“I Washed My Face In The Morning Dew” is a typical 1960’s-era “message” song, touching on the day’s social issues. A minor chart single for Tom T. Hall, Porter and Dolly give a great performance, here.
Speaking of minor chart singles, “Jeannie’s Afraid Of The Dark”, the next track, was just that, just missing the country top forty, as the flip side of “We’ll Get Ahead Someday”. For me, the song is way too morbid. I really just don’t get into songs about dying kids. However, years ago, hosting a classic country music show, I used to get a lot of requests for this song.
“Holding On To Nothin’” was their second single, together, climbing into the top ten during the summer of 1968. Great song, worthy of hit status, and easily one of the standout tracks of this album.
“Slip Away Today” covers a topic that has been a part of country music for at least sixty years, and peaked as a subject matter during the 1960’s and 1970’s. Good up tempo melody, this track delivers as one of the better ones on the disc.
That adulterous subject matter continues with “The Dark End Of The Street” on the final track of side one. Not as good as the previous track, to me, this song is a bit bland. However, many might disagree, as this song did make an appearance on the country top forty with comedian Archie Campbell and Lorene Mann, and was a top ten R & B hit for James Carr.
Switching to side two, things open with the title track, “Just The Two Of Us”. A good track that I will rate as one of the album’s best. A mid tempo number, the mid and upper tempo songs are the ones that Porter and Dolly seem to really excel at, in my opinion. Some of their best vocal work is this track.
I like “Afraid To Love Again”. Dolly excels, especially, on this track.
“We’ll Get Ahead Someday” is the album’s other top ten single. Good song, though not quite as good as “Holding On The Nothin’”.
I mentioned that Porter and Dolly seemed to really excel at the mid to upper tempo songs, there can be found, though, some good ballad work, throughout their career, and “Somewhere Between” is an excellent example. I won’t quite say “hidden gem”, but it’s a good track. I think you will like it.
“The Party” is another song about dead kids. Thankfully, country music has gotten away from it’s morbid roots. In a nutshell, mom & dad leave kids with baby sitter, go to a party, dad gets bad feeling, they rush home to a burning house & two kids who did not survive. But what about the baby sitter? We’ll never know. A very forgettable track, here.
Luckily, they redeem themselves quite nicely with the album’s final track, “I Can”. One of the best songs on the album. It’s one of those songs that you actually are surprised when it ends, you’re wanting more as it fades. A bouncy tune, with probably the best lyrics on the disc.
To the best of my knowledge, this album has yet to see the light of day on CD. I was also a bit surprised, given how well this album did upon it’s release, to see only a few used copies for sale.
In summary, side two is a definite step up from side one, on this album. There are some really good songs, but also some bad songs, and the rest, pretty average. However, the performances are excellent, as again, I’m not sure any duet in country music can lay claim to a better vocal blend than Porter and Dolly. Their harmonies are so good that they even make the bad songs somewhat listenable. Because of that, I will give the disc a 3 out of 5. What do you think?
Friday, May 28, 2010
Classic Album Review-Porter Wagoner And Dolly Parton "Just The Two Of Us"
Thursday, May 27, 2010
Classic Album Review-Hank Williams Jr. "Strong Stuff"
Classic Album Review-Hank Williams Jr. “Strong Stuff”
He was one of the hottest acts in country music, in 1983, Hank Williams Jr. By that time, he was already an established star, having scored hits since the mid 1960’s, and by this time, had survived a near-fatal fall from a mountain, and had been able to escape his father’s shadow and establish his own musical identity.
The album “Strong Stuff” was the first of two albums Hank Jr. would release in 1983. It would peak at number seven on the country album charts and climb into the fifties on the pop album chart, plus it yielded two top ten hits, “Gonna Go Huntin’ Tonight” and “Leave Them Boys Alone”, the latter, a collaboration with Waylon Jennings and the legendary Ernest Tubb.
The album opens with a top five hit for Hank Jr., “Gonna Go Huntin’ Tonight”. A true country rocker, here, done as only Hank Jr. can do it. The song, itself, is a decent track, though I admit there are other songs of his that I like better. The thing about Hank Jr., during this time, is that his style of country-rock was nothing like anyone else was playing at the time; it really stood out on country radio overloaded with the pop sounding records of the time. He was finally making music his way, and it’s no coincidence that this was his most fruitful time as an artist.
Next up, Hank Jr. covers ZZ Top, with a version of “La Grange”. It’s actually a good cover version, of a classic rock record. It’s probably my favorite ZZ Top song, and Hank Jr.’s version is almost as good.
By the way, Hank Jr. could do straight ahead country, too, as he shows on “A Whole Lot Of Hank”. Great melody, but kind of odd lyrics, comparing Billy The Kid, Jesse James, Hank Sr., and himself. It works, sort of.
Next, it’s “Made In The Shade”, a song that injects a fair amount of blues in his country, is a song that I think is one of the standout tracks on the album. The great thing about Hank Williams Jr., is that he can successfully pull off so many styles of country, hard country, country-rock, country-blues, even bluegrass. And usually, you hear all on his albums, making them very interesting to listen to, at the least, and certainly a lot of fun.
My favorite track on the disc, and the reason I purchased the album, originally, as a sixteen year old, is “Leave Them Boys Alone”. Featuring guest vocals by Waylon Jennings and Ernest Tubb, it’s one of those songs that I thought was awesome the first time I heard it on the radio, and still love it, especially since as a youth, the two artists whose albums I had more of than anyone were Hank Jr. and ol’ E. T. By the way, this was Ernest Tubb’s last time in a studio before passing away of emphysema in 1984.
For those keeping score, we now turn to side two, which begins with “The Girl On The Front Row At Ft. Worth”. An alright song, but not anything special. Good melody, arrangement, and beat, average lyrics.
“The Homecoming Queen” is a good song. A tried and true formula in country music, of the woman who’s everything to her man, but done just a little bit differently than had been previously heard. I like this one.
“Blue Jean Blues” is more rock and especially blues, but again, shows Hank Jr.’s versatility. Hank Jr. is best singing country music, of course, but he’s also a good blues man, as well, as this song well illustrates. This is one of those songs where the lyrics really aren’t important, because it’s all about the music, and in that respect, this is as good of an example of country-rock-blues as you will find.
“Twodot, Montana” is back to the country style, a bit of a throwback to classic country, as it tells of a man who’s imprisoned for a murder he didn’t commit, and tries to escape.
The album wraps with “In The Arms Of Cocaine”, which tells of a woman overcoming an addiction to the drug. An average song made better with a great country-blues arrangement, and a fine vocal performance by Hank Jr.
This album is still available on CD, and looks to be a very inexpensive buy. And if you prefer an original, it looks as though numerous used vinyl copies are available.
An album that I think gets overlooked when discussing Hank Williams Jr. It didn’t sell quite as well as some of his albums, though it did make gold status, but I think, overall, it’s a very good album, certainly better than some of the other albums that were on the market in 1983. I rate it a 4 out 5. What would you rank it?
Tuesday, May 25, 2010
Classic Album Review-Judds "Heartland"
Classic Album Review-Judds “Heartland”
February, 1987. The Dow closes above 2,200 for the first time; Madonna is singing “Open Your Heart”; ABC airs the miniseries, “Amerika”; David Hartman leaves “Good Morning America”; “Awesome Bill From Dawsonville”, Bill Elliott outran Benny Parsons and Richard Petty for the Daytona 500; and one of country music’s hottest acts, The Judds, were on the market with their fourth album, “Heartland”, which would peak at number one on the country album charts.
The album starts off with a little rockabilly sound, as they tackle the Elvis classic, “Don’t Be Cruel”. While I still believe Elvis’ is the best version, The Judds have nothing to ashamed of with their version of the song. It is one of the best tracks on the disc. As a single, “Don’t Be Cruel” was a top ten hit in the early spring of 1987.
“I’m Falling In Love Tonight” is a nice ballad. Not anything especially memorable, but not a bad cut. For me, the biggest issue with the song, is that, musically, the verse could be a bit more melodic, as it seems to be a bit boring, but get to the refrain, it’s a different story.
March, 1988, “Turn It Loose” became The Judds’ eleventh number one hit. For me, there are other songs in their repertoire that I like better, but many Judds fans count this one as a favorite. The song is an up tempo, rockin’ tune.
“Old Pictures” may remind you a bit of an older Statler Brothers song titled “Pictures”. The premise is the same, looking back at old photos and remembering. This one is actually one of the album’s best tracks.
Up next, The Judds reach back into the 1940’s for the next track, “Cow Cow Boogie”. Previously recorded by the likes of Ella Fitzgerald, Glenn Miller, Frankie Laine, and Gene Krupa, among others, The Judds give it a good dose of twang, but not losing the jazzy feel to the song. And it actually works pretty well.
Perhaps the best song on the disc is the ballad “Maybe Your Baby’s Got The Blues”. A great track that I think is one of their underrated songs, even though it was a number one hit, in fact, their tenth number one hit, in late 1987. A perfect blend of lyrics and melody, further enhanced by the typical stellar Judd harmony.
The other song that would vie for the album’s best track would be “I Know Where I’m Going”. Some of the best vocal work of their career is heard, here. Put that with a track that has a great melody, and good lyrics, throw in a good beat, and you have a winner. It was a great summertime hit, becoming a number one hit in the summer of 1987.
“Why Don’t You Believe Me” is another strong ballad that highlight their stellar vocals. Again, a good melody, good lyrics, and the arrangement is perfect.
The album wraps with a remake of Emmylou Harris’ “The Sweetest Gift”. Emmylou had initially made the song a hit, as a duet with Linda Ronstadt, in 1976. Here, Emmylou joins The Judds for what may be an even better version than the original. At the very least, an equal to the original. What I like here, is how well Emmylou melds with their vocals, to create an amazing sounding trio, which luckily, is allowed to shine, as the arrangement is very minimal, a great decision by the producer, Brent Maher, to do so.
As for availability, that’s a bit interesting. It has been on CD, but is not currently in production, though I found several new and used copies, on line. It is, however, available for download as an MP3. There are also numerous used vinyl copies available, plus I also found several used cassettes, more than I’ve seen on any of our reviewed albums.
Overall, this is some great work by one of country music’s greatest duos. No really weak songs, as the non-singles are of comparable quality to the singles. My only complaint is the length, only 9 songs, a couple of more wouldn’t have hurt. I will rate this one a 5 out of 5. And your opinion is?
Monday, May 24, 2010
Classic Album Review-George Jones "The Race Is On"
Classic Album Review-George Jones “The Race Is On”
The name George Jones is synonymous with country music. He’s one of the genre’s greatest singers, placing more songs on the country top forty than anyone, with a staggering 145 appearances between 1955 and 2005, more than any other artist, and he’s the only artist who can say he’s made at least one appearance in six different decades. Amazing!
Ask George’s biggest fans when his greatest period of music-making was, and you are likely to get many opinions; his early ’60’s work? The late ’60’s Musicor years? His time in the ’70’s and ’80’s with producer Billy Sherrill? It’s a great debate, with valid arguments for each period, but many would point to his ‘60-’64 work with Mercury and United Artists, as his greatest period, and judging from the hits of that time, it would be hard to argue, as this was the era of classics such as “Tender Years”, “She Thinks I Still Care”, and the title cut of today’s Classic Album, “The Race is On”. “The Race Is On” is a spring, 1965 release, that UA put on the market to capitalize on the success of the single. The album is made up mostly of cuts from earlier releases, as George had left the label, by this time. “The Race Is On” would peak at number three on the album charts, at that time George’s highest charting album effort.
The album starts with the title cut, a huge hit from the fall of 1964, and one of George’s biggest hits. It is my opinion that George’s version is still the signature version of this classic. A true classic, and one of his best.
Like most albums of the day, this one has several “covers”, including George’s version of “Don’t Let The Stars Get In Your Eyes”. Not a bad recording, but I think it could have been better, largely by lowering the key a bit. George sounds a bit strained in places. It should be noted, though, that most of his recordings in this era tended to be in a higher key, and at times, it would sound as though he was struggling a bit to hit the highest notes.
Up next, a great ballad, co-written by George, “I’ll Never Let Go Of You”. This is one of those singles that should have been. I think it’s one of his best cuts of his United Artists time. Why this never made it to the a-side of a 45???? It’s classic Jones.
“She’s Mine” is an interesting cut. Again, we are hearing some of George’s best vocal work. The song starts out leading you to believe that he’s talking about a girlfriend that he knows he will lose, thanks to lyrics such as “There’s someone she can’t forget I know she never will” and “She’s mine and yet I know someday I’ll lose her”. However, what we find out, is that it’s not a girlfriend, but rather a little girl, a father and daughter who’ve lost a wife and mother.
I’m starting to sound like a broken record, here. “Three’s a Crowd”, classic Jones. Great mid tempo, good lyrics, a great melody, all melded together by that classic voice of George Jones. Again, a song that easily could have been a hit single.
Like most country singers of his era, George was strongly influenced by the legendary Hank Williams. Here, George brings us one of Hank’s songs, “They’ll Never Take Her Love From Me”. It’s an alright cut, but doesn’t do much for me, then again, it’s not one of my favorite Hank Williams songs, either. But George’s performance of the song is good.
With side one in the books, it’s time to turn our attention to side two, which begins with another Jones hit, “Your Heart Turned Left (And I Was On The Right)”. A fun, up tempo tune, with a formula that George used successfully many times; a clever lyric (and in this case, title), up tempo, and great melody. It’s certainly one of George’s more underrated hits.
“Ain’t It Funny What A Fool Will Do” is next in line. Another song in which George shares writing credit, this one is a decent ballad, not the best on the album, but it’s a good track, that I’m sure plenty of his fans have thoroughly enjoyed over the years.
I think another of the album’s better tracks would have to be “It Scares Me Half To Death”. Once again, we have a good beat and great melody, with some decent lyrical content. If it were me, though, I would lose the Roy Acuff-style guitar, though, it really distracts from the rest of the track.
“World’s Worse Loser” is one of those songs that are rather average, but can be made better by artist performing it, and that’s exactly the case, with George’s version. Let most other artists cut this track, it’s nothing more than filler, and average filler at best. George’s style, though, adds some quality and content enough to make one want to keep listening all the way through. This was eventually released as a single, in 1966, after George had left the label, but failed to reach the top forty.
Earlier, I mentioned the tendency to have George sing a little too high on some of his work of the era; here’s another example, the Bob Wills classic “Time Changes Everything”. Had it been cut a lower key, I think it would have been a much better cut. As it is, too many spots where, again, it sounds like he’s straining to reach the high notes.
The album wraps with Jones’ version of the Boudleaux Bryant-written “Take Me As I Am”. Again, a little high for me, which is unfortunate, as you have a great song and a great vocalist. Drop it about one key, he would sound more comfortable, and I think you’d potentially have a classic. This is the same song, by the way, that would later become a hit for Ray Price (1968), and also see life as a country top forty single for Bobby Bare (1981).
While it’s not difficult to find the hit singles on this album on various Cd’s, the album, itself, has never been re-released on CD or MP3 download. However, I did find some used copies, online, most around $10.
Overall, it’s a good album, with just a couple of areas that could have been a bit better. I rate it a 4 out of 5.
Friday, May 21, 2010
Classic Album Review-"Trio"
Classic Album Review-”Trio”
What an album to end the week with. Three multi talented performers collaborating on an album of mainly country and bluegrass style music, with just a touch of pop thrown in, for good measure. The three performers are Dolly Parton, Emmylou Harris, and Linda Ronstadt. The album is “Trio”. Released in February, 1987, the album was an immediate success, selling over three million copies, reaching the pop album top ten, while topping the country album chart for five weeks. It would also spawn four top ten singles, including one number one hit, “To Know Him Is To Love Him”.
A song written by Dolly and Porter Wagoner, titled “The Pain Of Loving You”, opens things on this collection. Almost immediately, you are hit by how incredible the pairing of these three incredible voices really is. Emmylou Harris takes the lead on this one.
It’s Dolly Parton’s turn for the lead on “Making Plans”, a previous hit for her and Wagoner. Performed in a slower tempo than the hit single, this cut is an outstanding melding of the three great vocalists, along with a bluegrass-inspired arrangement.
“To Know Him Is To Love Him” was written by Phil Spector, and was a 1958 pop hit for The Teddy Bears (of which Spector was part of). Here, Emmylou Harris is back in the forefront, with flawless vocals on a number one single. It’s one of those songs that personally does nothing for me, but that being said, this version is one of the best you will hear of this classic.
The ladies pull one from the collection of the legendary Mississippi Blue Yodeler, Jimmie Rodgers, next. “Hobo’s Meditation” features Linda Ronstadt in the lead, and her vocals were in peak form, during this recording. The vocals, both lead and harmonies are enhanced by the minimal acoustic backing. One of the best cuts on the disc.
“Wildflowers” was one of four top ten singles from the album. Dolly Parton leads on this track, and it’s very reminiscent of her early work. I’d call it a throwback to what she was cutting on her first solo albums.
Side one wraps with “Telling Me Lies”, another of the top ten singles from the album, and featuring Linda Ronstadt in the lead, again. This song features a slicker, more lush arrangement than the rest of the disc, but I think it works for this track. Along with “I’ve Had Enough”, it’s about as far as the album will stray from the acoustic style that is heard on most of the disc.
Side two opens with Emmylou Harris back in the lead, but with Linda Ronstadt providing strong harmonies on “My Companion”. The track also features some outstanding instrumental work from Albert Lee on mandolin.
“Those Memories Of You” was yet another top ten hit from the album, and my personal favorite of the disc. We hear Dolly Parton in the lead on this track. The excellent guitar work on this track, comes from the same Albert Lee, whose mandolin was featured on the previous track.
“I’ve Had Enough” features Linda Ronstadt on lead; weakest track on the disc. The song, to me, feels too out of place with the rest of the album; perhaps because of the clarinet and flute, but also because the song has too much of a pop feel to it, and unlike “To Know Him Is To Love Him”, doesn’t lend itself well to a different genre.
“Rosewood Casket” has been around since country music has been sung. Typical of early country music, it’s a grim tale of a lover who’s passed. However, great harmonies can be heard on this track. If you like songs about caskets, you’ll love this track.
“Farther Along”, like “Rosewood Casket”, is a traditional song, whose origins have been lost over time.
One of the highlights of the album, it’s a beautiful way to wrap the album, as all three are given a turn to lead on vocals on this gospel-ish tune.
It would have been completely shocking to have found this album unavailable; I’m happy to say that it is, both in CD and MP3 form. Plus, there are several used vinyl copies floating around the web, as well.
They had been trying to make this album since the 1970’s, but were unable to make it happen, until 1986. The wait was well worth it. It’s one of the highlights of 1980’s country music; certainly an album that is well deserving of being labeled “a classic”. It’s an easy 5 out of 5. Do you agree?
Thursday, May 20, 2010
Classic Album Review-Bill Anderson "I Love You Drops"
Classic Album Review-Bill Anderson “I Love You Drops”
August, 1966, will mark the forty-fourth anniversary of the release of Bill Anderson’s only number one album, “I Love You Drops”.
We begin things with the title cut, a big hit for Bill in 1966, and a composition from Bill’s pen, as well.
I think “I Love You Drops” is one Bill Anderson’s best hits; a great ballad.
Bill also wrote the next track, “Think I’ll Go Somewhere And Cry Myself To Sleep”. It’s a song that’s never been a big hit, but is still relatively well known, due to the many times it’s been recorded, particularly in the 1960’s and 1970’s. It’s too bad that it’s never been a major hit; it’s an outstanding composition, and Bill’s version is flawless, pure country, right here.
“Talkin’ To The Wall” was a hit for Warner Mack (and later, Lynn Anderson), and here, Bill performs a decent cover, not as good as Mack’s, but decent.
As I listen, I come to the track “When Liking Turns To Loving”, a cut that I have to admit, isn’t really holding my attention. A ballad that falls into the bland category. Average, at best.
On the other hand, “I Get The Fever” is another of Bill’s best hits, a lively track that provided Bill with yet another trip to the top ten in 1966. Again, like the title cut, one of my favorite Bill Anderson cuts.
To me, some of Bill Anderson’s best recordings are the ballads, and the reason being it that his vocal style is so conducive to those generally quieter tunes of love and/or hurting. “Used To”, the final track on side one, is a classic example. You can just hear the hurt and despair dripping all over this track. It surely must be one of this album’s highlights.
Side two begins with a rollicking version of Roger Miller’s “In The Summertime (You Don’t Want My Love)”. Doesn’t do anything for me, as there is something about this recording that just feels forced or like a mismatch. It doesn’t work with Bill’s vocal style.
You have to like a song that can utilize the line “…drinking like a fish”, which Bill actually used when he wrote “Next Time You’re In Tulsa”. Again, you can hear the hurt and despair being conveyed in his voice, as he asks a stranger to check in on his ex- and his kids, the “next time you’re in Tulsa”.
“Lovin’ Pains”. Again, a song that’s not holding my attention. It just has a bland feel to it.
A nice recovery, though, on what I think is the greatest country song, ever, “I’m So Lonesome I Could Cry”. A simple, yet incredibly powerful set of lyrics, and it’s perfectly suited for Bill Anderson. One of the album’s standout performances.
“Nail My Shoes To The Floor” is a fun, bouncy track, that is easily listenable. Great, hummable melody and clever lyrics make this song a winner.
The album closes with a 1965 hit for Bill, “Certain”. It’s not a bad recording, again, showcasing Bill’s ability with ballads, especially those of the sad variety. The song, on it’s own, is average, but Bill’s vocals take average and make it very good.
You won’t find this album on CD or MP3 downloads, only used vinyl. Fortunately, if you’re interested in a copy, you should not have too much trouble finding one, as I found several, online, most at around $10.
All in all, it’s a decent album. There are a couple of exceptional cuts, along with a few bland ones, as well, but for Bill’s fans at the time of it’s release, I’m sure they were happy with the overall result of the album. I rate it a 3.5 out of 5. Only my opinion, though, so let’s hear it from the Bill Anderson fans, out there….what do you think?
Wednesday, May 19, 2010
Classic Album Review-Lynn Anderson "Rose Garden"
Classic Album Review-Lynn Anderson “Rose Garden”
It was December, 1970, when thanks to one single, a young country star was suddenly on top of not only the Country music world, but the worlds of Pop and Adult Contemporary, as well. That young country star was Lynn Anderson, and the song, as well as ensuing album that put her in that lofty position was “Rose Garden”. As an album, “Rose Garden” would be Lynn’s most successful effort, topping the country album charts, while reaching the pop album top twenty, and would sell over a million copies. It would end 1971 as the number one country album for the year.
The album starts with the title cut, a huge hit for Lynn, becoming her first number one country hit, while peaking at number three on the pop charts. It would also make it onto the Adult Contemporary top five. Even thirty-nine years after it’s release, it’s one of those songs that I still stop and listen to, when it comes on the radio, which is rarer and rarer, these days. You could argue it’s a perfect record, the vocal performance is perfect, the melody is perfect, and of course, Joe South’s lyrics are perfect.
Lynn follows-up with a pretty good version of Ray Price’s “For The Good Times”. Lacking the full instrumentation of the Price version, This stripped down version has a bit more of an intimate feel to it than the actual hit version. Very good track.
I haven’t listened to this album in probably at least twenty years, but despite that, the song “Another Lonely Night” is one that I can still clearly recall; it has stuck with me all that time (actually longer, since the album has been in my family since the early ’70’s), listening to it, now, it’s nothing fancy, but it’s a nice, bouncy melody that will stick in your head.
Lynn covers Tammy Wynette’s “I Don’t Want To Play House”, next, and does an acceptable version.
“Snowbird” could have easily been a Lynn Anderson standard, had it not been a big hit for Anne Murray. I would rate it as good as Anne’s version, which in itself, is a great recording. I actually think the guitar work stands out more and adds more to Lynn’s version.
Side 1 concludes with a title, “Your Sweet Love Lifted Me”. As album fillers go, this one is a good one. Good enough that it could have been a single.
Flipping the disc over and checking out side 2 (it is vinyl, after all), the side starts out with another cover, this time Johnny Cash’s “Sunday Morning Coming Down”. Not as good, of course, as Johnny’s version, but not bad. Credit Lynn and her then-producer/husband Glenn Sutton for not doing it the same as Cash, but rather trying a different feel. That feel almost comes out as what we now call a “power ballad”. Maybe just a slight gospel-ish feel, too.
“I Still Belong To You” is next. Not a bad cut, but not necessarily memorable, either.
“I Wish I Was A Little Boy Again” is an interesting cut, a woman yearning to return to a childhood of tomboydom.
In late 1970, “It’s Only Make Believe” was climbing the country and pop charts for Glen Campbell. Of course, it had originally been Conway Twitty’s first hit, in 1958. Here, Lynn gives her interpretation of this classic, and like most of the covers on the disc, doesn’t outdo the originals, but certainly gives an acceptable performance.
Weakest cut on the disc? The last cut, “Nothing Between Us”. Not that it’s a bad cut, but the rest of the album is stronger. Put this ballad on many other albums I’ve reviewed, and it would actually be considered one of the better cuts. One of those songs that I wouldn’t call bland, but doesn’t necessarily stand out, either.
I’m a bit surprised to see this album not being released as a stand-alone CD or MP3, to this point, especially considering the albums that have been reissued since the CD introduction. It’s only life as a CD, is as part of a package with her album “You’re My Man”, which looks to be out of print, but can still be found, online. Of course, numerous used vinyl copies are available, looks to be anywhere from $5 to $20.
All in all, I think it’s a great album from The Nashville Sound era. No really weak songs on this collection, and some very good covers of other hits. And of course, it never hurts to have a true classic to lead things off with. I rate this one a 5 out of 5. Are you with me? Or do you think differently? I’d love to know your opinion.
Tuesday, May 18, 2010
Classic Album Review-Deborah Allen "Cheat The Night"
Classic Album Review-Deborah Allen “Cheat The Night”
Back in the 1980’s, someone at RCA Records came up with the idea of the mini-LP. An album of only 6 songs, that could be sold at a lower price than a full album, and used mainly to promote the label’s new artists, hoping to increase their sales and recognition, as the first half of the 1980’s proved to be a rather difficult time for labels to break new country artists on the radio. This was a way, it was thought, to work around that.
One of their first mini-LP releases was Deborah Allen’s “Cheat The Night”, from 1983. Deborah was a
singer-songwriter who in my opinion, had one of the best voices to ever come out of Nashville’s recording studios. Unfortunately, her hit making career was relatively short, as she only scored six top ten hits, including three electronically dubbed duets with the late Jim Reeves. By the end of 1984, her career as a relevant vocalist was over, as she would score only one more country top forty hit, afterwards, 1993’s “Rock Me (In The Cradle Of Love)”.
As for the “Cheat The Night” album, it contained all three of Deborah’s solo top ten hits, and would also be her highest charting album, reaching the top ten.
“Baby I Lied” begins the collection, and is the song that most people will best remember of Deborah’s. A top five country hit, as well as climbing as high as the mid-twenties on the pop charts, it’s a solid power ballad, that even today, really isn’t that country, arrangement-wise, but an outstanding performance.
“Cheat The Night”, the title cut, is next. Worthy of being a title cut, it’s as good as any of the three singles on the disc. Great ballad, with a top notch melody and good lyrics. Easily could have been a single, had they so chosen.
“Fool’s Paradise” is a nice song, not anything that necessarily will be memorable, but something that one may tend to at least partially pay attention to.
Side 2 begins with “I Hurt For You”. During the summer of 1984, it would become Deborah’s sixth and final (including the three Jim Reeves duets) top ten hit. Probably the weakest of the three singles, but not a bad track. The vocal work, as it is on the rest of the package, is outstanding and makes the track better than what the song, itself, really is.
“What’s The Matter With Me” is actually one of the better album cuts I’ve heard, since doing these reviews, it’s an outstanding track that holds up exceptionally well after twenty-seven years. Tempo-wise, it falls somewhere between mid and up, and as usual, Deborah’s vocals are top notch.
The disc wraps with “I’ve Been Wrong Before”, which was actually her highest charting single, peaking at number two in spring, 1984. The most up tempo song on the disc, I’ve thought this was a great song since it’s release. In fact, somewhere, I have the original 45 rpm that I purchased when it was a hit. An outstanding pairing of lyrics and melody, it’s definitely a track to either A: reacquaint yourself with… or B: experience for the first time.
This album has not been issued on CD or MP3 download, but there seems to be numerous used vinyl copies available, online, including several “still sealed”. Pricing seems to be anywhere from $3 to about $15.
While I understand the purpose behind the idea of the mini-LP, I still have to say, though, that when this album ends, I’m actually a bit disappointed, because had this been a full album, with four more songs of comparable quality to the six on here, this could easily be a 5 out of 5 album. As it is, I can only go 3.5 out of 5, because of the small amount of music. But that is only my opinion. Yours may be different, and if it is, I’d love to know.
Monday, May 17, 2010
Classic Album Review-Roy Clark "Classic Clark"
Classic Album Review-Roy Clark “Classic Clark”
Fall, 1974. A bomb brings down TWA flight 841, shortly after takeoff from Athens, Greece; Ali knocks out Foreman in the “Rumble In The Jungle” in Zaire; Jimmy Fallon, Dale Earnhardt Jr., and Leonardo DiCaprio are born; Olivia Newton-John, Dionne Warwick/The Spinners, and Stevie Wonder are tops in pops; Richard Petty sews up another Winston Cup Title; and a new album from the multi-talented Roy Clark, enters record and department stores, everywhere. Titled “Classic Clark”, it would ultimately climb as high as number thirteen on the country album charts and yield three singles, of which two would become top forty country hits.
We begin with Roy’s hit “The Great Divide”. A great ballad, perfect for Clark’s vocal styling. While it wasn’t as big of a hit as some of his other releases (it did make top fifteen), it is one that is a favorite among Roy Clark fans, and one that on various oldies shows that I’ve hosted, that gets some requests.
1974 saw veteran Hank Snow make a big comeback at 59 years old, with a number one hit, “Hello Love”. Here, Roy does a more than acceptable version of Snow’s hit. While the arrangement’s a little bit slicker than the hit version, it’s a pretty decent version that one could see as a hit, had Snow’s version not taken off.
“Take Good Care Of Her” was previously a hit on the pop charts for Adam Wade (1961), and a country hit for Sonny James (1966). Here, Roy gives us his interpretation of the song, an interpretation that I must admit doesn’t really do anything for me. I much prefer Sonny’s version.
What would a Roy Clark collection be without some good guitar music? Roy brings it with an almost smoking version of “Room Full Of Roses”. I’m not so sure this might be the best version of this song I’ve heard. A great instrumental.
I like “A Brand New Day”. Nice beat, and great lyrics. One of the album’s best tracks, right here.
To wrap side one, Roy tackles Perry Como, with “It’s Impossible”, Perry’s last top ten pop hit in 1971. An okay recording, but nothing that really catches my attention.
With side one completed, it’s time to take a listen to side 2, which begins with a song titled “Dear God”.
It’s a nice song, but with a great message. It was released as a single in December, 1974, but went nowhere. I’ll note this one as one of the better tracks of the album.
I will also note the same for “The Chain”. One of the better tracks of this album. A vocal standout performance for Roy, here.
“You’re Gonna Love Yourself (In The Morning)” was the album’s second single, making a brief appearance in the country top forty. An alright track, but nothing particularly special about this one. In fact, there would have been, in my opinion, better selections for a single than this one.
Roy covers the Johnny Cash hit “Papa Was A Good Man”, next. While I think it’s a tune better suited for Cash’s style, Roy’s version is decent, I’m sure was pleasing to many of his fans, when the album was released.
I think “Until It’s Time For You To Go” would have been a better single selection, than “You’re Gonna Love Yourself (In The Morning)”. A minor hit for Elvis, here is a song that I think would be a rather difficult selection to sing, with the numerous key changes, and a complicated melody. Roy nails this ballad. A standout track, and great cut to end the disc.
If you are wanting a copy of this album for your collection, it’s one you’ll certainly have to peruse either Ebay, where several vinyl, and even 1-2 8-tracks are for sale, as of this writing; or you’ll need to search your local or online second hand record store. This one has never been released as a CD or MP3 download, and frankly I don’t see it happening anytime soon, if ever.
Overall, an album that falls somewhere between steady and bland. Some good cuts, and some that are frankly just fillers, but yet nothing really awful, either. I think a 3 out of 5 fits this disc. Your opinion?
Friday, May 14, 2010
Classic Album Review-Sonny James "Behind The Tear"
Classic Album Review-Sonny James “Behind The Tear”
Taking another look back into the annals of recording history, country-style. Today, the subject is Hall of Famer Sonny James, and his album “Behind The Tear”. Released in October, 1965, it would peak at number two on the country album chart, and yielded three number one hits, “Behind The Tear”, “It’s The Little Things”, and “I’ll Never Find Another You”. And it’s interesting to note, that while the title cut was a number one hit in 1965, the other two titles did not see life as singles, until nearly two years later.
The album starts out with the title cut, a number one hit for Sonny in October and November of 1965. I’ve always felt this was one of his best singles, apparently as did many others.
“I’ll Never Be Anything But In Love With You” is a nice love ballad, done exceptionally well by Sonny, though the very end could have been worked better, rather than having him trying to reach a high not almost out of his range.
The ballads continue with “Shackles And Chains”, not really that good of a song. Sonny’s performance is fine, but the song, itself is lacking.
“Tonight I Found My True Love” has that late ’50’s top forty sound to it, kind of like something that Johnny Ray, Andy Williams, or the Four Lads might have done. Nothing fantastic, but a nice, easily listenable tune, nonetheless.
“It’s The Little Things” became the third of Sonny’s sixteen consecutive number one hits, topping the charts in late 1967. Decent song, but admittedly, not one of my favorite Sonny James songs, but still, one that many will put on their “best” lists.
One of the album’s buried treasures has to be “On And On”. Up tempo, with that patented Sonny James guitar heard on most of his songs. While many of Sonny’s biggest hits were ballads, I think you can actually make the argument that his best work was his up tempo numbers, such as this little-known gem.
Side 2 kicks things off with Sonny’s rendition of the New Seekers’ hit “I’ll Never Find Another You”. Sonny’s version is a more up tempo version of the song, and as a single, it became Sonny’s second of those sixteen consecutive number ones, hitting the top in August, 1967. This is one of those relatively rare times where the remake, to me, is better than the original. I like the faster tempo that Sonny employs, better than the more mid tempo style used by the New Seekers.
“Yes Or No”, yet another in an album full of nice tunes. Not a song that’s likely going to stand out to a listener, but not one that’s likely make one reach for the tone arm on vinyl, or the forward button on the CD or computer.
Folk music was very popular during the middle part of the 1960’s, and while Sonny’s never considered a folk singer, there is no denying a folk influence on some of his recordings. It clearly comes through on “What Makes A Man Wander”. Warning, you could easily find yourself singing along with this one. It’s a great melody, good lyrics, stellar arrangement and vocals. A winner, here.
“In Memory Of Louisa” is another in an album heavy on ballads. And like many of them, it falls into that range of good, but not great, yet made better by Sonny’s vocals, along with outstanding production at the hands of the producer, Marvin Hughes.
“I Truly Do” also falls into that category. A little bit more tempo, and a decent melody, but again, not anything particularly special, but again, made better at the hands, or vocal chords of Sonny James.
This album has never been released on CD or MP3 download, but used vinyl copies are out there. It is old enough that you will find both stereo and mono copies, most around $4-$15.
Sonny was a smooth country crooner, but with a style unlike any other, before or since. It’s a voice with a strong country presence, but also a touch of pop, folk, and even blues. Yes, he’s a crooner, but it’s a style different than the likes of his contemporaries such as Eddy Arnold, Jim Reeves, or George Hamilton IV. And of those who have come along since, there really is no one who sings like Sonny James did. He is truly a unique voice. As for the album, overall, it’s a good album, but not great. The singles, of course, are the best cuts, along with “On And On”, and the rest are a step or two below. In my opinion, it’s not good enough to be a 4, but I think 3.5 is too low, as well, so for this one, I will pull out the seldom used 3.75 out of 5. What do you think?
Wednesday, May 12, 2010
Classic Album Review-Janie Fricke "It Ain't Easy"
Classic Album Review-Janie Fricke “It Ain’t Easy”
Today, we slide back some twenty-seven years for a release from Janie Fricke, “It Ain’t Easy”. While it wasn’t her highest charting album, only reaching number fifteen, it is arguably her most successful album, due to the fact that three of the four singles it spawned, would peak at number one, while a fourth would stop at number four. It was also during this album’s run, that Janie picked up two “Female Vocalist Of The Year” awards from the CMA, along with one, each, from “Music City News” and the ACM.
We start things off with “He’s A Heartache (Looking For A Place To Happen)”, the third single from the album, and the album’s second number one hit. I wouldn’t really call it a rocker, despite it’s up tempo beat, however, it is very lively and I think one of the standout tracks of the disc.
“Who Better Than An Angel” will also please most who listen to this disc, catchy melody and beat that will hold your attention throughout the track.
“It Ain’t Easy Bein’ Easy”, the title cut, and in my opinion, the best cut of the album. It was the album’s first number one hit, and deservedly so, as it is, in my opinion, one of the best cuts to make country radio during the first half of the 1980’s. A great ballad that I’ll argue for being a country classic.
Janie goes back to the quicker tempo for “Too Hard On My Heart”. Another light, bouncy track, that upon it’s release, twenty-seven years ago, likely found favor with many of her fans.
Side one ends with a song titled, “A Little More Love”. Pretty much standard fare, here. Nothing special; one of those songs you may not necessarily skip past, but likely won’t find anything to make you listen closely, either.
Whereas many albums of this era were big on ballads, this album actually keeps the slow stuff at a minimum, not that there’s anything wrong with slow songs. “Love Have Mercy” is another up tempo that again, while nothing special or groundbreaking, is a song that you likely won’t skip past, though you may not give it complete attention, either. Again, likely pleasing to her fan base at that time.
“Tell Me A Lie” was the fourth and final single from the album, and the album’s third number one hit. A ballad that’s not a bad song, and obviously one that many do like, based on it’s peak position, but it’s never done much for me.
On the other hand, I would argue that “You Don’t Know Love” is a ballad on par with “It Ain’t Easy Bein’ Easy”. Simply an outstanding song, with a perfect arrangement, perfectly suited for her vocal styling.
That’s it for the ballads, as the tempo kicks back up with “Heart To Heart Talk”. It’s not a bad cut, but nothing particularly special, either.
Lastly, we come upon a “Tryin’ To Fool A Fool”. Again, a cut that I won’t say is terrible, but not anything special, either. In fact, my attention started drifting during this cut, so nothing really to hold your attention on this cut. Bland may be the best word.
Not too surprisingly, this album doesn’t seem to have ever been released on CD, however, if you are interested in a copy, there are several used vinyl copies for sale, most around the $3-$10 range. There were a few still sealed new copies for sale, as well, mostly around the $12-$15 range, though one person was trying to sell one for $40. I don’t look for that one to sell, anytime soon.
Overall, a nice album from the early 1980’s, that is in the country-pop vein that was dominant of that era. One thing listening to this album reveals, is the strength and quality of Janie Fricke’s voice, something that I had kind of forgotten, over time, not having heard her, much, in recent years. She was a very good vocalist that should get more credit than she does. The album has 2 or 3 average cuts, but those are more than compensated for, by the big three, “He’s A Heartache”, “It Ain’t Easy Bein’ Easy”, and “You Don’t Know Love”. The strength of those three songs, along with three more good tracks, are enough to make this one a 4 out of 5. What do you think?
Tuesday, May 11, 2010
Classic Album Review-Bobby Goldsboro "Honey"
Classic Album Review-Bobby Goldsboro “Honey”
1968. Country music is dominated by the Man In Black, the loud rocking twang of The Buckaroos,
a new superstar named Loretta, and the smooth sounds of Eddy Arnold, Sonny James, and Ray Price. And in the pop field, it was all about The Beatles, The Doors, The Rolling Stones, along with Motown and psychedelic rock. So, with all of that, not to mention the general turmoil of the world, the question is, just how did a song about the death of a young wife, become such a monster, crossover hit?
The singer behind this song and today’s Classic Album Review, is Bobby Goldsboro, and, of course, the song is “Honey”.
The album begins with the title track, a song that’s been called everything from maudlin, syrupy, sappy, schmaltzy, and even stronger terms. It’s been included in numerous lists of “worst songs” or “worst hits”. Perhaps the best description I’ve ever heard for the song, is that, “…it’s a silly, or dumb song, but for some reason, whenever it plays, you can’t turn it off. You wind up listening to the whole tune, over and over again, and it eventually it grows on you”. For all the razzing, though, the facts are as follows; it went to number one on both the country and pop single charts, the single sold a million copies, plus, the album went gold, while topping the country album charts and making the pop top five. So, for a song that is “so bad”, it did pretty well. It’s also ironic, that Bobby Goldsboro was a prolific songwriter, but his biggest hit was written by someone else, in this case, the late Bobby Russell.
Before getting into the country field, Bobby had success as a pop singer, and the next cut, “Run To Me”, certainly still has a strong feeling of 1960’s pop music, with a good beat and heavy brass. Certainly not a country track, but as one who also likes the oldies sound of the ’60’s and ’70’s, I personally think it’s a pretty cut track.
“With Pen In Hand” may be Bobby Goldsboro’s most famous composition, even though he did not a hit single version. It was a top five country hit in 1968 for Johnny Darrell and a minor pop hit in 1969 for Vicki Carr. Bobby’s version would see life as a single in 1972, but failed to chart. His version is very comparable to Johnny Darrell’s, in arrangement, and while I’ve always loved the Johnny Darrell version, I think you could argue that Bobby’s version is as good, if not even better. The song, itself, is one of country music’s most outstanding compositions of the 1960’s, in my opinion.
Back to more of the light, bouncy pop fare with “Pardon Me Miss”. A catchy tune, with average to slightly above average lyrics.
“Why Don’t You Believe Me” is alright, but gets somewhat lost in the arrangement, which sounds like it came straight out of a Dean Martin album from that era. This style of arrangement works well on Martin’s records (several of which I’ve worn out, over the years). However, it doesn’t work as well with Bobby Goldsboro’s vocals. I think the track would have come off better with a more stripped down, country-sounding arrangement.
And thus ends, side one.
Side 2 kicks off with Bobby returning to the more pop/top forty styling similar to “Run To Me” and “Pardon Me Miss”, on the song “Pledge Of Love”. Alright, but nothing particularly special.
I mentioned, earlier, that the late Bobby Russell wrote “Honey”, he also wrote another big hit of the era, “Little Green Apples”. “Little Green Apples” would become a big country hit for Roger Miller, and a pop hit for O. C. Smith. Bobby’s version, unfortunately, gets somewhat lost in the lush arrangement, which distracts from his stellar vocal performance. A more stripped down arrangement, and his recording could be as good as the hit versions.
As is the case throughout the album, alternating pop cuts with more country and easy cuts, we head back into the pop, with “Love Arrestor”. Like most of the up tempo pop on this album, it’s got a good, catchy melody, with average lyrics, and a decent arrangement. The sound on this cut, though, is a bit lacking in fullness, sounding a bit tinny.
“By The Time I Get To Phoenix”, the Jimmy Webb-penned classic made famous by Glen Campbell. Another stellar vocal performance that still gets a little lost in the overly lush arrangement, though not quite as bad as “Little Green Apples” or “Why Don’t You Believe Me”.
Overall, the best cuts on this album are the up tempo ones, including “Beautiful People”. Again, very ’60’s (imagine that on a 1968 album!), but I think it’s one of the best cuts on the disc. Interesting to note that this song was written by, and the only top forty hit sung by Kenny O’Dell. Kenny would later write Charlie Rich’s “Behind Closed Doors” & “I Take It On Home”, “Trouble In Paradise” for Loretta Lynn, and The Judds’ classic “Mama He’s Crazy”.
The lush arrangement returns for the final cut, “A Woman”, but unlike the previous cuts, in this case, it actually works well for this ballad. This is actually one of the better cuts on the disc, soft, intimate, but avoiding the syrup.
I was a bit surprised to find this album currently available on CD, but it is in print, in not one, but two packages with other albums. One package has it with Bobby’s “Summer (The First Time)” album, while the other package includes Bobby’s “We Gotta Start Lovin’” album. There are also numerous used vinyl copies around, as well, as low as $1.
This one’s a rather interesting album to rate. While Bobby Goldsboro’s vocals are excellent, and the songs range from good to outstanding, some of the arrangements leave something to be desired, and the production quality doesn’t seem to be as high of quality on parts of the album, as one might expect, especially on what was then a major label, United Artists. With all of this considered, I will give it a 3.5 out of 5 rating.
What do you think? I’d love to know how you’d rate this album. Like? Or not?
Monday, May 10, 2010
Classic Album Review-Larry Gatlin "Straight Ahead"
Classic Album Review-Larry Gatlin “Straight Ahead”
We start off this week’s reviews with Larry Gatlin & The Gatlin Brothers’ release from 1979, “Straight Ahead”. Featuring their biggest hit, “All The Gold In California”, the album contained a total of four singles, of which three would reach the top twenty, with “All The Gold In California” making it all the way to number one. The album, itself, would be Larry’s only million seller, and would peak at number seven on the album charts.
The album starts off with “All The Gold In California”. A number one hit that is worthy of classic status, and appropriately enough, the best song on the disc. Thirty-one years has not diminished this track, at all.
“Piece By Piece” is a classic Gatlin ballad, as good as any he’s ever written and sang. One wonders how it got passed over when choosing singles for the album.
The exceptional quality of music continues of with “The Way I Did Before”. It’s another ballad, that showcases the brother’s fine harmonies, and is arguably as good as the preceding track.
Both tracks are well produced, plus contain exceptional lyrical quality, along great melodies.
“Can’t Cry Anymore” sounds a bit like Gatlin’s hit “I’ve Done Enough Dyin’ Today”; it’s not quite to the level of the 1st three tracks. Okay, but nothing special.
“Gypsy Flower Child” is seven minutes you’ll never get back. A story song that feels every bit as long as it is. That, of course, is not a good thing.
Side two kicks off with another single from the album, “We’re Number One”, a top twenty hit. While I liked this song when it was on the radio, and still do, after revisiting this album, I believe that it’s a decent ballad, but a bit bland, now. “Piece By Piece” and “The Way I Did Before” are actually better tracks.
Best intro on the album? “Taking Somebody With Me When I Fall”. I’ve always thought it was great. The whole song has, even today, a breath of freshness to it’s sound. The arrangement makes this cut, with what I would describe as a light sound, that provides a perfect backdrop that doesn’t step on the lyrics or the vocals. This cut should have been a bigger hit than it was.
“How Much Is A Man Supposed To Take” is another ballad that I would say is okay, but nothing particularly special.
The tempo picks up a bit on “Hold Me Closer”, but again, nothing particularly special.
“Midnight Choir” was a controversial song that flopped as a single, because many radio stations wouldn’t play it, due to it’s lyrical content, particularly in the refrain. For me, personally, this song has never really done much, but I do know some who love it.
While it’s not been released, individually as a CD, “Straight Ahead” is available as a package, along with the “Greatest Hits” album. Of course, numerous vinyl copies are for sale, as well, most running $5 or less. I even ran across some cassettes and 8-tracks, as well.
I would say this album is a bit uneven. There are several tracks that excellent recordings, but also a few that just do nothing for me. I’m rating it a 3.5 out of 5.
As always, drop me a line, and let me know what you think.
