Today’s time traveling drops us off in 1981, when Reagan was prez; baseball’s season was split; The USSR was still a concern; the TV showed us Dukes, Ewings, Carringtons, and Les Nesman; my age group bought records from Air Supply, Blondie, and REO Speedwagon; and country music in 1981 was Haggard, Jones, Rogers, Statlers, Oaks, Mandrell, Willie, Dolly, and Bocephus. George Strait was a newcomer, and while Dolly was country’s biggest selling female vocalist, the subject of today’s Classic Album Review, Anne Murray, wasn’t too far behind in the sales ledger. For Anne, 1981 started with the release of her “Greatest Hits” and ended with the release of “Christmas Wishes”. In between, was the release of “Where Do You Go When You Dream”. Containing four singles, of which three would reach the top ten, the album would place as high as number four on the country bestseller list, while reaching a high of fifty-five, on the pop side of things.

Kicking things off on this collection is one of Anne’s number one hits, “Blessed Are The Believers”, a song that topped the charts in the spring of 1981 (has it really been that long?). I’ve always thought of this as one of her better releases, though a song that seems to often get overlooked, despite it’s high chart placing. A nice ballad, that brings to us a good melody, with good lyrics; just an easy song to listen to and like. It’s also worth noting that this was Anne’s last top forty pop appearance.

One contender for the Hidden Gem, is “It Should Have Been Easy”. Another ballad, again, it’s a melody that just has an easiness to it, listening-wise. Good enough to have been single-worthy, though never released as one.

“If A Heart Must Be Broken” is a decent ballad. I think, though, it drops off a bit from the first two. Still not a bad track.

Next, Anne gives us her take on a Larry Gatlin composition, “Bitter They Are, Harder They Fall”. Stripped down with minimal backing and harmony, it gives this track a really more effective result. Good songwriting and good singing equals good music, and that’s what we get, here.

“It’s All I Can Do” is another underrated Anne Murray ballad, in my opinion, and it wraps side one. A top ten hit in the latter part of 1981, it’s one of those tracks that just stay with me whenever I hear it. It’s an ear-pleasing track.

After a rather mellow side one, it’s time to check out side two, which opens with yet another ballad, “We Don’t Have To Hold Out”. Now, I thought this was a great record, when it came out as a single, in the summer of 1981. Even today, I’m somewhat amazed that this barely scratched the top twenty. It’s got a great melody, the lyrics are great, and Anne’s vocals are on the mark. So why not a big hit? We’ll have to ask a 1981 Program Director, I guess. Certainly one of the album’s high marks.

“Another Sleepless Night”, the fourth single from the album, and a track that ends the string of medium-slow/slow tempo ballads. This was a top ten hit in early 1982, for Anne. Decent track, though I actually think the weakest of the four singles. The closest thing to a rocker on this album.

The title cut, “Where Do You Go When You Dream” continues the ballad-heavy tilt of this album. Again, very much along the lines of the other tracks of this album, in that it’s a nice track, giving us good lyrics, a nice melody, and good vocal work. But, also very similar sounding, as well.

“Call Me With The News” and “Only Love” are the final cuts on the disc, and both pick up the tempo, giving us something a bit different than the rest of the album. “Call Me With The News” is an okay track, but nothing particularly special. Meanwhile, “Only Love” has a rather catchy melody that after a couple of listens could easily get into your head.

This album is available on CD, but only as a package, with Anne’s 1982 release, “Hottest Night Of The Year”. You can also pick up this album as an MP3 download. In addition, numerous used vinyl copies can be found, along with some used cassettes. I even found one 8-track listed on Ebay, a rapidly dying format, by 1981.

As for the album’s Standout Track, I think you can make a valid argument for any of the three hit ballads, but for me, I have to go with “It’s All I Can Do”. Yes, it didn’t chart as high as “Blessed Are The Believers”, but again, it’s a song that stays with me, whenever I hear it. The Hidden Gem will go to “It Should Have Been Easy”, while the Weakest Track, for me, is “Call Me With The News”.

This is an interesting album to listen to. On one hand, you have ten tracks, of which nine range from very good to excellent. However, as a collection, it does get a bit monotonous after awhile, due to the extremely heavy load of ballads, all of which use the same formula, arrangement-wise. What could have made this album better, would have been to either drop a couple of the ballads for some more tempo, then mix them throughout the album; or to have tried some different arrangements on some of the tracks, so as to mix things up a bit more. Probably nitpicking, but that’s my take. Overall, it’s an album that’s decent. One that I’m sure her fans have enjoyed, over the past twenty-nine years. I think the overall song quality trumps the sameness, in this case, so I’ll rate it a 4 out of 5. Thoughts?

MORE 1980′s COUNTRY MUSIC

Reba McEntire – “What Am I Gonna Do About You”

Ronnie Milsap – “Keyed Up”

Ricky Skaggs – “Highways And Heartaches”

Rosanne Cash – “King’s Record Shop”

Willie Nelson – “Stardust”

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Any discussion of 1980′s country music cannot be complete without bringing up the name Vern Gosdin. Known as “The Voice” for his smooth country vocals, Gosdin, who passed away, last year, could almost immediately demand your attention within the first three or four notes of a song; he was that good. And in the minds of many Vern Gosdin fans, his 1987 release, “Chiseled In Stone” was the epitome of his career. His comeback album, after almost three years away from the charts, this would be his highest charting album, peaking at number seven, and yielded four top ten singles, “Do You Believe Me Now”, “Set ‘Em Up Joe”, “Who You Gonna Blame It On This Time”, and the title cut. A fifth, “Is It Raining At Your House”, would later be released from his “Ten Years Of Hits” release.

The album kicks off in style with one of Vern’s best, “Do You Believe Me Now”. Just let me say this; if you are not familiar with Vern, by the end of verse one, you’ll be, a) hooked; b) understand why he was called “The Voice”. Only George Jones can convey heartbreak in song, any better. “Do You Believe Me Now” was Vern’s comeback hit, climbing into the top ten in early 1988, his first country top forty entry, since 1985.

“Tight As Twin Fiddles” is a western swing-styled track that compares the love of a woman to the love of Bob Wills’ music. Interesting comparison, and interesting composition. An okay track.

Again, those heartbreak ballads are where Vern really shines, as is the case with “Is It Raining At Your House”, which would become Vern’s final top ten hit in early 1991. Another outstanding performance from an outstanding vocalist.

“Set ‘Em Up Joe”, Vern’s tribute to Ernest Tubb, was a number one hit in the summer of 1988. A mid tempo track perfectly suited for Vern’s vocals, the song, itself, is a great composition. Gotta love a song that honors E. T.!

Just from the title, you know you are getting pure country music with “There Ain’t Nothing Wrong (Just Ain’t Nothing Right)”. Then, it starts out with the steel guitar riff that takes us into another standout Gosdin performance, and yes, it’s confirmed; this is country music, and country music the way it should be. A track good enough that it could have been a single, and likely a hit single, in my opinion. It’s as good as “Do You Believe Me Now” or “Is It Raining At Your House”.

Again, I keep going back to this, how Vern conveys heartbreak with his vocals. Surely one of the top five singers, when it comes to emotional singing.

After an extremely well performed side one, we turn our attention to side two, where things begin with another ballad, the title cut, “Chiseled In Stone”. A top ten hit in the fall of 1988, it’s a favorite among many Gosdin fans, and rightfully so, though I have to admit that as strong as it is (which your title cut should be), I don’t think it’s even the best song on the disc, or even second best, for that matter.

That being said, though, what we get is a typical Gosdin performance; take a good song, and make it great.

“Who You Gonna Blame It On This Time” was fourth top ten single to be directly released from the album, charting in early 1989. Mid tempo, of the five singles that appear on this disc, this is the weakest of the group.

The next track, “It’s Not Over, Yet”, is one that doesn’t do anything for me. A ballad, I have to admit, I caught my mind wandering during this track. It’s too bland for me. Vern’s vocals are fine, just not an overly interesting song to hold my attention.

Kicking up the tempo with “Nobody Calls From Vegas Just To Say Hello”. A bit of a quirky melody, but one that is infectious and likable, I especially like the guitar riffs on this track. A fun track to give listen to.

“I Guess I Had Your Leavin’ Comin’” is a pure country tear-jerker. Of course, having Vern Gosdin singing it doesn’t hurt. Great melody, though lyrically, it seems like the writers struggled to come up something in a couple of spots. Overall, though, it’s a decent track, giving the album a good wrap.

It is good to see that this album is still on the market, both in CD and MP3 form. In addition, numerous used CD’s, as well as some used vinyl copies can be found, also.

Being a big, lifelong fan of Ernest Tubb, it’s very tempting to call “Set ‘Em Up Joe” the Standout Track. While it is a great song, in this case, I have to go with “Do You Believe Me Now”. As for the Hidden Gem, “There Ain’t Nothing Wrong (Just Ain’t Nothing Right)” gets my nod; a great track that most likely have never heard. “It’s Not Over, Yet” will get the Weakest Track nod.

Though Vern had some great work throughout his career, this album has to rank as his best work. Good, consistent performance throughout the collection, with only one track that was a bit weak, though not terribly so. If you’ve never listened to “The Voice”, this is a great introduction. I say a 5 out of 5.

MORE GREAT 1980′s COUNTRY

George Jones – “Still The Same Ole Me”

Earl Thomas Conley – “Somewhere Between Right And Wrong”

Alabama – “My Home’s In Alabama”

T. G. Sheppard – “Slow Burn”

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So far, this week, we’ve done our first-ever reviews of albums by Kitty Wells, Charlie McCoy, and Tanya Tucker; so why not continue that trend? Today, it’s Porter Wagoner’s turn. In fairness, we did look back at one of his duet albums with Dolly Parton, a few months ago, but this is the first time I’ve pulled out one of his solo efforts. “Y’all Come” was a September, 1963 release, that surprisingly, contains no hit singles, however the album did peak at seventeen.

Though it was never a hit single for Porter, for many, his version of “Y’all Come” is the definitive version. And with good reason. The song sounds as if it was written with Porter in mind; it matches perfectly his vocal style. The song was actually a hit in early 1954 for Arlie Duff. One wonders why RCA never chose to put Porter’s version out on 45.

Next, Porter tackles “I Wanna Go Home”; a song that would crack the top twenty this same year for Billy Grammer, but also became a top ten country and pop hit for Bobby Bare, under the name “Detroit City”. Porter gives us a great, bouncy version that’s closer to Grammer’s recording. It’s actually kind of an interesting contrast; a bright, bouncy tempo and arrangement, with lyrics describing a man in the depths of despair and loneliness. Porter could do that as well as anyone.

Another example of the just-mentioned contrast, comes on Porter’s recording of the Flatt & Scruggs song “Crying My Heart Out Over You”. Again, Porter handles the song, flawlessly, giving it more tempo than either Lester & Earl, or even Ricky Skaggs, some eighteen years later.

Porter covers his own hit with a remake of “Company’s Comin’”. One of the few examples where an artist rerecords his own hit and winds up with a version as good, if not better than the original. Yet, that’s what happens, here.

Had Carl & Pearl Butler not already scored a monster with “Don’t Let Me Cross Over”, then Porter could have easily had, I think, an equally big hit. Again, just a great recording that, if you like pure country music, you’ll love this one.

Side one ends with an outstanding inspirational track, “Angel Band”. Very strong recording.

Side two opens with “Come On In”. An up tempo track, it’s the type of song that Porter did best, I call it a “neighborly song”, due to it’s lyrical content that conjures up images of small towns, farms, and the friendly people who inhabit both. “Company’s Comin’” and “Howdy, Neighbor, Howdy” are other examples of this type of song. “Come On In” isn’t quite as strong as the rest of the album, but it’s a track that I still find myself enjoying.

In 1959, Charlie Walker gave us the hit, “Pick Me Up On Your Way Down”. In 1963, on this album, Porter Wagoner gave us his take on the song. And might I add that it is a good take. Once again, Porter seemingly glides effortlessly through the song, giving a version that is comparable to the hit version.

Next, Porter tackles the Jerry Wallace pop classic “Shutters And Boards”. Good recording, but didn’t strike my like button as much as the rest of the album. A bit on the bland side.

“Bad News Travels Fast” was one of Porter’s early single releases, hitting the market in early 1954. While it didn’t chart, had this version been released as a single, it might have been a hit. A good recording that any Porter fan surely liked.

Porter went the ballad route for “There’s A Rainbow In Every Teardrop You’re Crying”. The arrangement may remind you of some of Jim Reeves’ efforts, but the vocals are pure Porter. This is a good track. It may not standout, but it’s not one to skip over, either.

The album wraps with “Be Careful Of Stones That You Throw”, a track first recorded by Hank Williams, under his pseudonym Luke The Drifter. Porter was also great at these types of songs, as well; the kind that some would call a “tear jerker” or others call “sappy”. Either way, Porter could sing or in this case, recite them as well as anyone, and do so in a way that it was as if he was telling you a story about someone’s life, and it was completely believable.

Not an album that will be found on CD or MP3 (though I would make the argument that it should be), this is an album well worth having, and if you so choose, you should find numerous used vinyl copies on the market, most in the $10 range.

As for the Standout Track, I think the best one of the disc has to be the title cut, “Y’all Come”. There are several good possibilities for the Hidden Gem, but I think, ultimately, I have to go with his rerecording of “Bad News Travels Fast”. As for the Weakest Track, if there is one, it would be “Shutters And Boards”. Again, not actually a bad track, but it does come off as a bit on the bland side.

Overall, I think this is a very good album. Porter was at his peak, vocally, during this period, and this album contains what I think is some of his best work. Though most of the tracks are covers, Porter sang them in a way that they were written for him, instead. I give this one a 5 out of 5.

HOW ABOUT SOME MORE 1960′s COUNTRY

Porter Wagoner & Dolly Parton – “Just The Two Of Us”

“The Buck Owens Collection”

Jack Greene – “Statue Of A Fool”

Bill Anderson – “I Love You Drops”

Loretta Lynn – “You Ain’t Woman Enough”

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The first half of the 1980′s were a rollercoaster for Tanya Tucker, from a professional standpoint. Tanya had been a consistent hit maker during much of the 1970′s, but by the end of the decade, her singles were not performing as well as they once had. 1977 and 1978 each saw only one top ten hit (“It’s A Cowboy Lovin’ Night” in ’77, “Texas (When I Die)” in ’78), while 1979 saw only one single even crack the top forty. The trend continued into the new decade, as “Pecos Promenade” would be the only 1980 hit, and “Can I See You Tonight” would be it for 1981. During this time, a similar fate was happening with her albums. “TNT” would peak at number two, but “Tear Me Apart”, “Dreamlovers”, and “Should I Do It” would remain in the lower echelons of chartdom, while both 1982 releases, “Live” and “The Best” both failed to even make the charts. In 1983, Tanya left MCA for Arista, a union that yielded one album, “Changes”, that only reached forty-seven, though it did include the top ten single “Feel Right”.

In 1984 and 1985, Tanya was no where to be seen, either on the singles or the album charts. However, in 1986, her career was reborn with a new label, Capitol, and three top ten singles, along with a top twenty album, “Girls Like Me”. In my opinion, though, her 1987 release, “Love Me Like You Used To” was the album that declared Tanya was back. It was her first top ten album since 1978′s “TNT”, and all three singles, “I Won’t Take Less Than Your Love”, “If It Don’t Come Easy”, and the title cut, would peak at number one. All told, by the time Tanya left Capitol/Liberty in the late ’90′s she had amassed twenty-four top ten singles, four number ones, and three top ten albums. Let’s take a look back at that 1987 release, “Love Me Like You Used To”.

July, 1988, turn on country radio and you’ll very likely hear Tanya’s latest, “If It Don’t Come Easy”, as it was one of the hottest records of that month. The third and final single from the album, it’s also the lead track, giving the disc a great beginning with a solid, up tempo beat and great lyrical content. One of those tracks with a melody that’s easy to follow and listen to. Plus, I think Tanya was entering her peak, vocally, at this time, so the vocal work was excellent, as well.

The title cut, “Love Me Like You Used To” is one of the great ballads of 1980′s country. Again, great vocal work enhancing a great song from the pen of the late singer/songwriter Paul Davis (pop fans, remember “’65 Love Affair” and “Cool Night”? He sang those).

Speaking of Paul Davis, he and Paul Overstreet join Tanya for the next track, “I Won’t Take Less Than Your Love”. One of those feel-good songs that we need every so often. I’ve always liked this song, both the message and the melody.

“I Wonder What He’s Doing Tonight” is a quality piece of music. A good album cut.

While not quite the level of the first four tracks, “I’ll Tennessee You In My Dreams” is still better than many other tracks I’ve heard. A decent song, just not particularly special.

Side two opens with the track, “Alien”. Comparing the husband who doesn’t talk, justs watches TV and drink beer to an alien. It’s an odd song. While not a great song, it does have some creative lyrical content that makes it better than it could have been.

“Temporarily Blue” is a nice bluesy number, but I’m not that high on this particular version. Tanya’s vocal is excellent, but the arrangement just hasn’t held up, over the past twenty-three years. Too much of the standard ’80′s country-pop sound, whereas I would like to hear it more with a blues arrangement. Change that, and I think it would have been a memorable track.

Another ballad is next, as Tanya puts her spin on “If I Didn’t Love You”. Four years prior to the release of this album, the song had been a top forty country entry for the late Gus Hardin (remember that name?). Tanya’s version is okay, but the arrangement is lacking. Too much pop sound for a country album, and it sounds rather dated; hasn’t aged well.

The same thing with “Heartbreaker”. It sounds like the producer is trying to make Tanya sound more like Pat Benatar, than a country singer. Just not a good cut at all. The album, at this point, has veered off the country road, and is now sounding like it’s trying to be an Adult Contemporary or Top 40 disc. Oh, and in case you are wondering, especially with the Benatar comparison, it’s not the same song as the Pat Benatar hit.

Unfortunately, the last cut fails to get back on the road. “Hope You Find What You’re Loving For” is a ballad. But again, it sounds like the producer is trying to make her a pop singer. Not that she couldn’t do it, actually she does it pretty well. I’d just prefer to hear more country in her sound.

It does look as though this album is still available on CD; at least there are new copies still to be had. One will also run across several used CD, vinyl, and cassette copies, as well, without too much effort.

As for the Standout Track, I will have to go with the title cut, “Love Me Like You Used To”. “I Wonder What He’s Doing Tonight” gets the nod for Hidden Gem, while I have to give the dreaded Weakest Track to “Heartbreaker”.

The pop influence is nothing unusual for that period. Remember, much of the 1980′s was dominated by the more pop-country sounds of Kenny Rogers, Anne Murray, and Gary Morris, among others. And remember, even Bob Seger and Lionel Richie crossed over. Unfortunately, many tried to emulate that style, and more often than not, it wasn’t that good of a result. Case in point, here. We have an album that starts out pretty well on the first side, but loses it’s direction on side two. While this album’s potential was a 4, I can only give it a 3 out of 5, due to the second side. Thoughts?

MORE MUSIC FROM GREAT COUNTRY LADIES

Martina McBride – “Wild Angels”

“The Best Of Judy Lynn”

Reba McEntire – “My Kind Of Country”

Crystal Gayle – “We Must Believe In Magic”

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A good way to kick off this album, is the best way I can describe “Good Time Charlie’s Got The Blues”. A nice, bluesy feel that is put over the top by the lonesome sound of Charlie’s harmonica. Excellent track.

For those of us used to hearing Charley Pride’s version of “Is Anybody Goin’ To San Antone”, be prepared to be knocked off your seat with a version completely different than Pride’s. A more rocking version is the best way to describe it. It’s one of my favorite Charley Pride songs, however, I’ve got to say that I’m really liking this version.

By about halfway through the third track, you start understanding why this album was a number one bestseller. Charlie makes Joe Stampley’s “Soul Song” really swing. You find yourself really getting into the music, by now.

Charlie give us his take on what is I think my favorite Beatles song, next, “Something”. One of the most beautiful melodies ever written, and while no one can ever touch the Fab Four’s original version, Charlie more than does the song justice. Again, really liking this track, as well.

“Minor Miner”. A very 1970′s sound, but still not bad. The best way I can describe the sound of this rather unique track; imagine mixing Lynyrd Skynyrd, Barry White, and Roy Clark together. Not the best track on the album, but it’s rather fun to listen to. Again, there’s no question what decade this track dates from.

After that rather wild, roller coaster-like ride, the ballad “Don’t Touch Me” seems incredibly tame. A hit for both Jeannie Seely and Wilma Burgess, Charlie gives us another stellar cut to wrap side one. Groundbreaking track? No. Just a nice, pleasant two minutes and eighteen seconds of ear-pleasing music.

Side two opens with an old traditional favorite, “John Henry”. However, not done in the traditional style. An exuberant beat that jumps out and grabs you, demanding that you pay attention. By the end of the track, you’ll be glad you did. A great, creative different look at a traditional favorite.

Tammy Wynette’s great ballad “Till I Get It Right” is next, and like the previous seven tracks, it’s quality. Great sound.

One thing you’ll notice on this disc, is that on the up tempo tracks, Charlie wasn’t afraid to use elements of other genres on his tracks. We’ve heard a goodly amount of rock mixed in, even some funk. A rock-like beat starts out “Louisiana Man”, before jumping into the more expected Cajun styling. Outside of the original Rusty & Doug Kershaw hit version, this is the best version of this song I’ve heard.

As great as all of the tracks have been to this point, “Shenandoah” easily goes down as the best track on the album. The track starts with only Charlie’s harmonica and a harp accompaniment in a beautiful opening verse. By the time this track ends, you’ll find yourself saying, “Wow”. This is one of the most beautiful melodies ever written in the history of music. This, ladies and gentleman, is a timeless piece, right here.

The final track is an all-out-let-’er-rip version of “Orange Blossom Special”. Frantic is the word that comes to mind in how he plays this track. Nothing special, but a good version and a track to end the album with, as it leaves the listener ready for more. It’s also worth noting that it’s not the first time Charlie’s played this song on record, as his harmonica, along with the sax of Boots Randolph, are heard on Johnny Cash’s hit version.

Not currently available, though I would argue that it should be, I did find some used vinyl copies, online, most under $10.

As previously mentioned, the best track on the disc is “Shenandoah”, an easy Standout Track. Almost any of the other ten tracks could be given the Hidden Gem title, I think I’ll go with “Something”. I really don’t think I can come up with a Weakest Track.

Listening to this album, it does have a 1970′s sound to it, but yet is still has aged well, overall. It’s an album that I can really say is fun to listen to. Charlie wasn’t afraid to try some things and mix a few styles together. And as a result, he came up with some music that was different than anything else from Nashville in that time. And, if you don’t think a harmonica can carry a song, much less a whole album, after listening to this disc, your opinion will change. This is a 5 out of 5. Easy to see why he’s a hall of famer.

MORE GOOD MUSIC FOR YOU!

Charlie plays harmonica on the title track.

Johnny Cash – “Orange Blossom Special”

Boots Randolph – “Yakety Sax”

Chet Atkins – “Finger Style Guitar”

“Chet Atkins Picks On The Beatles”

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First up, one of the three titles from the album to appear on the singles charts, “I’ve Thought Of Leaving You”, which made a brief top forty appearance in the summer of 1964. Nice beat, a song that compliments Kitty’s voice perfectly, thanks to a catchy melody.

Kitty also gives a nice performance of the Marty Robbins hit “Begging To You”. A little quicker pace than the Robbins version, Kitty also avoids trying to emulate Marty’s vocal style, giving it her own touch.

I have to admit, her version of the Stonewall Jackson hit “B. J. The D. J.” didn’t quite do it for me. It’s a bland recording, to me, lacking the emotion of the Jackson version. The biggest difference, to me, is that Kitty sounds like she’s just singing the song, while Stonewall sounds as though he’s telling you a story. Best way I can describe the difference.

On the other hand, her cover of the Margie Singleton hit “Old Records” would rate as good, if not better than Margie’s version. I think it could have easily been a hit for Kitty. Great ballad recording, right here.

Another track that falls to the bland side for me, is her version of the Brenda Lee hit, “As Usual”. I think the issue for this track is that the song just isn’t quite the right style for Kitty’s singing. It’s not a terrible track, it’s just not a great track, either. It’s just there.

I feel the same way about side one’s final track, “Going Through The Motions Of Living”. In this case, though, I think it’s more the song. Even the hit version by Sonny James is a bit on the bland side, as is the case with Kitty’s rendition. It’s a song that will likely feel that way regardless of who’s providing the vocals.

With side one in the books, we turn our attention to side two, a side that is heavy with more covers, as well as two top ten Kitty Wells hits. Up first, “Gonna Find Me A Bluebird”. The song was a top ten 1957 hit for Marvin Rainwater, while also making the top twenty for Eddy Arnold. Here Kitty gives what I think is one of her better performances on this album. A nice surprise, as it’s a song that were you to ask me, I’d say would not have been a good fit for her singing style, however, she proves me wrong.

“This White Circle On My Finger” was a top ten hit for Kitty in early 1964, a track that I’ve always rated as one of her better hits. Here, we have one of those situations where the song, by itself is okay, but in the hands of the right vocalist, it becomes great. The song is perfect for Kitty’s vocals, and she took full advantage, providing us with one of the album’s best tracks, as well as a hit single.

Kitty dips back into the Stonewall Jackson catalog with “A Wound Time Can’t Erase”. If you’ve never heard Stonewall’s version, let me just say that it’s one of the most outstanding country recordings you will ever hear, period. That being said, I must give Kitty credit for being able to record a version that is more than pleasing to the ears, it’s a very good interpretation that approaches the incredibly high bar set by Stonewall.

Another of Kitty’s hits found on this album is next, “Password”. Just like “This White Circle”, it’s a song that I would also rate as one of Kitty’s best hits. This track filled the country airwaves in the summer of 1964, on the way to peaking at number five. There’s not really a whole lot to say, other than a great track. One of Kitty’s best vocal works of her career.

Kitty Wells was at her best singing heartbreak songs, as she had a great ability to convey the heartbreak and sorrow that the writers wanted you to feel. And she was able to do so, without excessive sap. Even forty-two years after her final top forty appearance, I would still rate her as one of the best in that regard. “(I Didn’t Have To) Break Up Someone’s Home” is a great example. The song, itself, is one of the better I’ve heard to come from the pen of Justin Tubb, but Kitty’s take on the song is a bullseye. Perfection in country music.

Last, but not least, we come to Kitty’s version of “Before This Day Ends”, which had been a top ten hit for George Hamilton IV. Not a bad track, though it almost sounds as if it’s keyed almost too low for Kitty. I would have liked to have heard it keyed slightly higher, as some of the low notes sound almost too low.

An album that has not seen the market in any type of digital format, used vinyl copies seem to be numerous, with a wide range in pricing. I’ve seen prices ranging from $7 to as high as $40. If you can get a good, clean copy for around $10, I say “do it”.

For me, the Standout Track of this album, has to be Kitty’s hit, “Password”. As I mentioned, it’s one of her best hits, in my opinion. As for the Hidden Gem, this is a bit tougher, as there’s a couple of worthy candidates, but ultimately, “(I Didn’t Have To) Break Up Someone’s Home” gets the nod. And the Weakest Track? Again, a couple of candidates, but I think I’ll have to go with “As Usual”. It just doesn’t quite fit her vocal style.

Overall, I think we have a pretty good album, here. There are a couple of misses on the first side, but a strong second side makes up for any shortcomings. Even though Kitty was starting to enter the twilight of her career as a hit-maker, her vocals were still near peak condition, and the two top ten singles from the disc are among her all-time best performances. I think this is a 4 out of 5. What do you think?

KITTY’S SUCCESS OPENED DOORS FOR THESE LADIES

Loretta Lynn – “You Ain’t Woman Enough”

Shania Twain – “The Woman In Me”

Tammy Wynette – “The First Lady”

Barbara Mandrell – “Moods”

Emmylou Harris – “Blue Kentucky Girl”

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After a quick intro, along with a short piece of “Under The Double Eagle”, Ernest opens things with a rendition of Jimmie Rodgers’ “The Women Make A Fool Out Of Me”, giving a solid performance of the Rodgers classic.

“Go On Home” is a ballad that I have to say may be one of the best Ernest Tubb performances I’ve heard. Simply outstanding.

The same can be said of the Texas Troubadours’ rendition of the Bob Wills classic “Steel Guitar Rag”. The band just flies through this classic, with nary a mistake. You want something to make your toes tap? This will do it.

“Old Love, New Tears” features not Ernest, but two of his band members, Johnny Johnson and Leon Rhodes. A decent vocal performance, but I think I’d have rather heard Ernest at the mic. I like the song, though, as it’s a great piece of musical works. Good beat, and a catchy melody.

Even in 1962, “Try Me One More Time” was an Ernest Tubb classic. Ernest gives a great performance of one of his earlier hits.

The first side concludes with another instrumental by the Texas Troubadours, called “The Lover’s Waltz”. Again, we are treated to some excellent musicianship by Ernest’s band.

Side two opens with another of Ernest’s 1940′s hits, “Drivin’ Nails In My Coffin”, from 1946. Ernest’s vocals are actually better on this recording than on the original. I have to say, this album has some of the best vocal work I’ve ever heard on an Ernest Tubb album.

Things slow down a bit, with what Ernest tells us is a new song, “Out Of My Mind”. Leon Rhodes performs the vocal duties on this track. Overall, an okay track. The song, itself, is good, Rhodes, though, has a rather bland vocal style.

Another instrumental follows, with “Redskin Rag” a catchy melody and bouncy beat that comes from the Bob Wills catalog. Some stellar steel guitar work on this track, though, again, all of the Troubadours are practically flawless.

Next up, it’s a mid tempo track, composed by Ernest, himself, “Watching My Past Go By”. Not a well known Tubb tune, but a nice track that ranks as one of the better tracks on this disc.

Leon Rhodes returns to the mic for a rendition of “Bandera Waltz”. Much like the earlier track, I’d consider it ordinary, as Rhodes’ vocals are rather bland.

The album wraps with what Ernest tells us is a new song, “In And Out (Of Every Heart In Town)”. The performance is typical Tubb (which is good), however the song isn’t quite as strong.

An album that you will not find on CD, however a few used vinyl copies did pop up on my search, ranging between $12 and $45 for a copy. I have to admit, though, even as an Ernest Tubb fan, I don’t think I’d pay $45 for it.

As for the album’s Standout Track, I’m going with “Drivin’ Nails In My Coffin”. Great E. T. vocals on this track. As for the Hidden Gem, I would go with “Go On Home”, a track that deserves to be heard.

And the Weakest Track goes to “Out Of My Mind”. The song, itself, is good, but the vocals are bland.

While overall, the material on this album is good, the disappointment for me lies within song selection. Where’s “Walking The Floor Over You”? Where’s “Half A Mind”? I would have liked to have heard more Tubb hits, plus more of Tubb, himself, as opposed to his band members. Then I also have to wonder a bit as to how “live” this album actually was. The quality of the actual tracks, sound-wise, is different than the audience reactions. Plus, listen to the end of the album; after Ernest says his goodbye, and band plays for a short stretch, before ending. Normally, there would be at least applause throughout the whole section, however, here it’s just after Ernest says goodbye, then ends before the music starts. I’m not going to say it wasn’t recorded live, but there are a few things I hear that make me question, though. While I like the album, I’m also a bit disappointed in it, as well, so I’m going a 3 out of 5 on this one. What do you think?

MORE FROM THE TEXAS TROUBADOUR

“The Daddy Of ‘Em All”

PLUS, MORE FROM SOME ALL-TIME LEGENDS

Stuart Hamblen- “It Is No Secret”

Mother Maybelle Carter – “A Living Legend”

Lefty Frizzell – “Greatest Hits”

Bill Monroe – “Road Of Life”

“The Great Roy Acuff”

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A bluegrass favorite starts things out, “John Henry”. And what a great track to kick things off on this album. The Bluegrass Boys come out of the gate smoking and in fine form. You can hear the excitement of the crowd as they take in the performance of a legend and his band.

From there, we move into “Doghouse Blues”, where again, we are treated to more flawless playing, while Bill’s vocals are dead-on.

“The Old Mountaineer” features the fiddling of Bluegrass Boy Kenny Baker. I have to admit that there’s something about a fiddle tune that, when played well, is just practically like a heavenly sound. That experience happens on this track. Of course, a great melody helps, and this track features just that.

1979 is the year that former Bluegrass Boy and legend, Lester Flatt passed away, and Bill pays tribute to him by performing a song that Flatt had written and performed during his time with Bill’s band, “Little Cabin Home On The Hill”. While Bill does not sing lead on this track, he does provide the harmonies on the refrain, and the lead singer on this track (not listed on the album, unfortunately) gives a very good rendition of this bluegrass classic.

One wonders what the most played song in bluegrass music history might be; I’d guess “Orange Blossom Special”. If it’s not, then it’d have to be no lower than number two. While there’s nothing on this version to really differentiate it from all of the other versions on vinyl or CD, from a sound standpoint, it is an excellent example of the incredible talents of the Bluegrass Boys and you can hear the excitement being generated by the audiences as they take in this great performance, making it a great end to the first side.

Side two opens with a medley of favorites, including Bill’s classic “Molly & Tenbrooks”, “Little Maggie”, “Train 45”, and “Blue Moon Of Kentucky”. Bill’s original recording of “Molly & Tenbrooks” remains one of my favorite bluegrass tracks, and here, some thirty-ish years after the original was recorded, Bill’s vocals sound almost exactly as the original. One almost feels deprived not to get the full version. And of course, the same can be said of Bill’s signature, “Blue Moon Of Kentucky”. We only get a verse, here, which is too bad.

“Rocky Road Blues” is a song that has never really done anything for me, but that being said, there’s nothing critical that can be said of this particular performance; Bill and his band glide through it so smoothly.

One thing you’ve likely noticed reading these reviews; I’m not one who cares for morbid songs. Yet, particularly in bluegrass, they are a significant part of the music, so no surprise that one is included, here with “The Little Girl And The Dreadful Snake”. A story of a little girl morbidly bitten by a snake, ending with a moralistic warning to never let children stray. I know many bluegrass and Bill Monroe fans love this track; I’m not one of them.

After a brief respite, tempo-wise, things pick back up with the track “In Despair”. Good track, though the harmony refrains sound a bit off, at times, but the musicians are on top of their game, as usual.

The album concludes with a version of the classic “Y’all Come”, another of those songs that have been performed by a wide myriad of country and bluegrass artists, over the years. While my favorite version remains that of Porter Wagoner, one will find nothing negative about this version. This is a shortened version of the song, that ends the show, along with another short melody being played while Bill leaves the stage.

While Bill’s original “Bean Blossom” album from 1973 remains available (CD & MP3), this album is not currently available. However, with a little searching, one will likely find a good used copy on vinyl. Of the ones I saw, the average price was around $10.

I think I have to give “John Henry” the nod for the Standout Track, as it’s a smoking hot number that sets the tone for the album. As for the Hidden Gem, I’m going with “The Old Mountaineer”, as the fiddle playing is some of the best you will hear. And the Weakest Track? “The Little Girl And The Dreadful Snake”.

I never had the opportunity to see Bill Monroe in concert. However, I would have to imagine that doing so, could be likened to being able to watch Rembrandt or Picasso as they weaved their magic to canvas. True masters at their crafts. While there’s not anything groundbreaking about this album, it does do a good job in translating the excitement and general overall atmosphere of a Bill Monroe performance. If I had to make a criticism, it would be for the album to be a little longer than the just over 30 minute length that it is. Overall, I rate this a 4 out of 5. What do you think, fans?

AND FOR MORE OF THAT HIGH, LONESOME SOUND…

Bill Monroe “Road Of Life”

Flatt & Scruggs “Hear The Whistles Blow”

Ricky Skaggs  “Highways And Heartaches”

Dan Fogelberg “High Country Snows”

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Into the midst of some good country music we go, with the opening track of the disc, the number one hit, “How Blue”. A number one hit in early 1985, it’s traditional sound sets the tone for the album; we are about to hear Reba at her absolute most traditional. “How Blue” is a song that I would have to include as one of her ten best; it’s a strong record, both lyrically and melodic-wise. And the strong dose of steel and fiddle only enhance it.

“That’s What He Said” keeps up the musical quality. A ballad, with an infectious melody that has to rank as an outstanding album cut; a sure-fire contender for Hidden Gem.

Almost as good is “I Want To Hear It From You”. It’s pretty much a carbon copy of what I just said about the previous track; infectious mid tempo melody that makes for a great album cut.

Reba slows things down a bit with “It’s Not Over (If I’m Not Over You)”. The pure country continues with this ballad, though the song, itself, I don’t believe is quite as good as the first three. It’s not bad, though, and Reba’s vocals certainly sell the song well.

“Somebody Should Leave” is another number one hit for Reba, topping the charts in the spring of 1985. A ballad, it’s in my opinion another track that has to rank among her best work. Great record that was every bit deserving of being a number one hit and what a way to end the first side.

Side two opens with what is the most pop sounding track on the disc, “Everything But My Heart”. A ballad, the song fall dangerously close to being filler, not because of the more pop sounding arrangement, but because the song is just not as strong, lyrically, as the album’s other tracks. However, it turns out to be a glimpse of what we would hear more of on ensuing Reba releases, music-wise.

Reba next presents a song written in the mid 1960′s by veteran singer-songwriter Nat Stuckey, “Don’t You Believe Him”. Back to the traditional country sound, on this one, and some stronger lyrics, as well, puts the album back on the path of pleasurably listening established on the first side.

Reba rocks it a bit, but with a country styling on her version of the Charley Pride song “Before I Met You”. Completely different than Charley’s recording from nineteen years prior, I have to admit that I’m really not sure how well I like it. I’m sure many of those who own, or have owned this album, would rate it highly, but I still prefer the Pride version.

Another ballad on the album that I do highly rate, is “He’s Only Everything”. Again, stellar vocals, along with a great melody and good lyrics make for a track that is an outstanding sound to put in one’s ears.

Wrapping the album, is Reba’s version of “You’ve Got Me (Right Where You Want Me)”. A slower tempo ballad, this song was Connie Smith’s first top forty country single for Columbia in 1973, after leaving RCA. The track itself is very good; stellar vocals on a strong melody. However, what is most interesting for me, is to compare this to the original; and by doing so, one realizes just how similar, vocally, Reba and Connie are. Both Connie and Patsy Cline, I hear, when I hear Reba sing. Her vocal work is her own style, not a copy of those two greats, but the strong similarities cannot be overlooked.

As for availability, numerous used CD, vinyl, and cassette copies abound at very reasonable prices; I only paid $3.99, for example, for my vinyl copy. The album is still available, as well, on both CD and MP3 download.

As for the album’s Standout Track, I have to give “How Blue” a narrow edge over “Somebody Should Leave”. The Hidden Gem is rather tough to single out, as there are several worthy contenders on this disc, but ultimately, I have to go with “He’s Only Everything”. And the Weakest Track? I think that would be “Everything But My Heart”. It’s just not as lyrically strong as the other nine tracks.

Overall, this is an excellent album that in my book, ranks among her best work. While today, some twenty-six years later, her vocals are nothing to sneeze at, I think she was reaching her vocal peak, at the time of this album’s recording. I rate this one an enthusiastic 5 out of 5. Okay, everyone, let me hear you, what do you think?

MORE REBA McENTIRE ALBUMS FOR REVIEW

“For My Broken Heart”

“What Am I Gonna Do About You”

AND SOME MORE ALBUMS TO CHECK OUT

Martina McBride – “Wild Angels”

Crystal Gayle – “We Must Believe In Magic”

Tanya Tucker – “Love Me Like You Used To”

“The Best Of Judy Lynn”

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