Showing posts with label david frizzell. Show all posts
Showing posts with label david frizzell. Show all posts

Friday, August 18, 2017

Was Country In 1981 Really That Bad?





 Memories are strange, wondrous things. Sometimes a memory of a particular time in one's life is colored by a general "feeling"; perhaps a feeling of melancholy or boredom or apathy. At the ripe old age of twenty-six, I'd grown indifferent toward music. I'd actually begun listening to "oldies", which in that year consisted of fifties music I'd never heard the first time around. I know I'd grown cranky with country music, and it wasn't my fault. The production was sluggish -- soft tinkling pianos, a faint whiff of a violin; everything very quiet -- and producers were bending toward remakes of pop songs. Nashville wasn't even trying anymore; yet they expected me to buy their crap.

Granted, our country was as sluggish as the Nashville music scene, which didn't help. I might still be paying off the twenty-one per cent interest rate on my credit card purchases; I'm not sure. Anything I needed to buy -- for my kids or for the house -- essentially required a bank loan, which was nigh impossible to obtain, seeing as how everybody was defaulting so they could afford to fill their tanks with gas (thanks, Jimmy Carter). I could have done a better job running the country, and I was a dolt. Just when I was at my absolute poorest, our president was on TV lecturing me that it was my own damn fault, and that I just had a bad attitude. Just what I needed in my circumstances -- a stern lecture. He was like my mom. We had hostages in Iran, which Ted Koppel reminded us of every night on Nightline. "This is day four hundred and three."

MTV was created in 1981, but it hadn't hit my airwaves yet. Soon I would abandon country music for Dire Straits and Phil Collins.

What we remember from a particular year isn't necessarily what Google tells us to remember. In browsing the number one country hits from 1981, I find lots of gems. Why don't I remember those, instead of singles by Charly McClain and Sylvia and Crystal Gayle and Alabama? I don't think it's my fault. I blame my radio. It was as if the disc jockeys got together and conspired to play the absolute worst tracks over and over, because, frankly, they hated country and they needed to teach us a lesson. In hindsight, I turned away from country just as country was turning, and I missed the renaissance. I missed George Strait because of those damn DJ's. They kept feeding me, "Your nobody called today" until I found myself bent over the toilet bowl.

Here is a sampling of what the disc jockeys chose not to play over and over:

David Frizzell and Shelly West:



 Rosanne Cash:


The Oak Ridge Boys:




Eddie Rabbitt:




Anne Murray (sorry, no live performance video to be found, but I really like this):




Ronnie Milsap:




TG Sheppard (again, no live performance worth posting, but worth hearing in its glory):


Yes, Barbara Mandrell, when she was still country (when it wasn't cool):




This is what we (I) remember from 1981. Granted, I had a subscription to HBO and a second shift job, so I watched this movie approximately two thousand and fifty-one times in the pre-work afternoons, but the fact remains that this is what, like it or loathe it, will forever represent country music at that precise time:

Dolly Parton:

 

Country music in 1981 was better than I remember it, no thanks to my local DJ's. Truthfully, I would list at least three of these singles as classics. Which, once again, proves that my memory is woefully deficient and that Jimmy Carter messed with my brain.

I'm giving 1981 one thumb up.


Friday, April 13, 2012

The Country Single


By 1981, I had had it with my parents' cast-off console stereo.  The sound that came out of it was a muffled, bassy grumble.  One could fiddle with the so-called controls, but nothing really ever changed, no matter how much I swirled those knobs around.

Also, by 1981, we had a little extra spending money.  We had finally paid off the hospital bills from my last maternity stay.  I remember the hospital calling me once, saying, "You have to give us more than $5.00 a month", and I replied, "That's all I have!"  And it was.  Often, the check register showed a balance of about $2.00 in those early days. 

We bought necessities at a discount store called "Tempo" (gee, wonder why that store went out of business).  The clothing items would practically fall to shreds before we got them into the trunk of our car.  We didn't have Target then, and certainly not WalMart.  We had Woolworth's...and Tempo.

But, by 1981, I was back at work, and we'd determined that we could afford to make payments on a new stereo "component system".  

So, off we went to a place called Pacific Sound, which was a little shop tucked inside what was generously called a mini-mall; a shop that you had to meander your way through some barely-lit hallways to find.  But it had a reputation as the place for audiophiles in my little town, and it wasn't Woolworth's, Sears, or JC Penney.

The sales guy obviously knew he had a "mark" when he saw us.  He dazzled us with his displays of various shiny sound things (which was basically what they were to me).  He spoke the language of output and channels and dynamics and equalization.  But all I could see was shiny sound things.

He told us we could mix and match different brands, which was just amazing to me, because my mixing and matching consisted of a JC Penney console stereo in a lovely artificial wood tone color that matched the faux-wood paneling in our living room.  But the one thing he insisted upon (insisted!) was that we purchase the Bang & Olufsen speakers, or B&O, as all the cool kids called them.  They were Swedish!  I guess that meant they were good.  Good, but wow ~ more than I wanted to spend ~ but then again, if you put something on credit, you're not actually paying for it, right?  I mean, not right now.  Our big worry was that we wouldn't get approved for credit.  How naive!  As I gained wisdom in my life, I realized that everybody gets approved for credit!  That's why we're all here where we are now, isn't it?

(And I still have those B&O speakers today.)

So, we got all the paperwork done, and got it all delivered and put together, and stood back and admired it all.

And then I played my country singles.

One memory I regret that I can't share with my husband is a reminiscence of favorite albums.

Country never was about albums.  It was about singles.  If I was asked what my favorite country album was from back in the 1960's/1970's, I would stammer something about, "The Best of......Buck Owens"?   The only concept albums I recall from the late 1960's were done by Merle Haggard, so maybe I would cite, "Hag", or "Let Me Tell You About a Song".  Even "Wanted:  The Outlaws" wasn't actually a concept album.  It was a bunch of leftover tracks thrown together by a producer and released as an after-thought.  Willie and Waylon didn't sit down together and decide how they were going to configure their new, great, groundbreaking release.  They didn't even know about it.

I bought a bunch of albums in the sixties by artists like Tammy Wynette, Loretta Lynn, Lynn Anderson, Buck Owens, Charley Pride, Waylon Jennings, Porter & Dolly, Merle Haggard; and they all, except for Merle, just covered each others' songs.  Yes, Waylon, too.

I wasn't really all that keen on hearing Loretta's take on,  "I Don't Wanna Play House", or Tammy singing, "You Ain't Woman Enough".  I always figured (and still do) that the original version was (is) the best, so why bother or care? 

Music Row producers were focused on the next big hit single.  Then they would slap that on an album, and surround it with a bunch of filler.  They didn't give the public a whole lot of credit for being discerning, and, I guess they were sort of right, because we ate it all up.

Honestly, I owned (and still do) a whole ton of country albums from that period of time, and I can honestly say that there are maybe three or four that I've ever actually listened to all the way through.  Maybe five or six.

So, in 1981, after I got my new shiny sound machine, I slapped on some 45's.  Ones that I'd bought at Woolworth's.  I think you could get them for less than a buck, and I bought a lot of them.  But, in retrospect, I am now in possession of a bunch of singles that I can't even identify by their titles, because I just scooped up whatever was available, and the selection was woefully limited.  The singles were situated on an end cap; at the end of a long row of albums.  I didn't even shop the albums.  Which was strange, because I'd been a big album-buyer in my younger days.

It did seem like every time I went into Woolworth's to sift through the latest singles, my eye would catch this blue album with a cow's skull on the cover; something about the Best of the Eagles, and I thought, oh, another one of those rock groups that I'm not interested in.  I had no conception of the Eagles.  That was how splintered the musical genres were.  It's ironic that this so-called rock group that I turned my nose up at was more country than the country junk that I was piling up at the cash register.  I was late to the Eagles.

1981, though, did have some nice country singles.  And some bad country singles.  I bought all of them, willy-nilly.  I bought what I could find.

This song is one that has stayed with me, and I still love it. 

You're The Reason Got Made Oklahoma
 



Here are some other songs from 1981, that I'm sure I purchased.  That does not mean they have my stamp of approval.

I Was Country (When Country Wasn't Cool) ~ mmmm, no, but I still like Barbara.  It's just not a true statement.



Party Time ~ TG Sheppard

There is no decent performance video of this song.  I don't know why, because I love this.  So, I guess, listen to the record, like I used to do.



I Think I'll Just Stay Here and Drink 



Fancy Free  (I've posted a lot of videos on this blog, but this one, by far, has the best definition of any I have ever posted):



I'm Just an Old Chunk of Coal



It's a Lovely, Lovely World (preceded by "I'll Be There") ~ Gail Davies

When I first heard "Lovely, Lovely World" on the radio, I was thrown, because I had no idea that my best friend, Alice, was on the radio.  Well, she wasn't.  It was Gail Davies.  But this is almost exactly what Alice sounded like.



Midnight Hauler ~ Razzy Bailey



Seven Year Ache


I can barely express how much I admire Rosanne Cash's music.  She had a few hits that year, but I like this one possibly the best.



Well after this next single was a hit, we got HBO.  I think it was one of those special deals ~ the first month free, and then $10.00 a month if you decide to keep it.  (Can you imagine?  $10.00?  I don't have HBO, but I bet it's way more than $10.00 now, and they don't even hardly have movies anymore!)

I watched the movie over and over, many times.  And it's still a fun film.  Sometimes it's available on "On Demand"; sometimes one can catch it on one of the free channels.  And I always pause and watch at least part of it. 

Kudos to the person who put this video together; "ifonlytheeighties".  It makes me want to watch the movie again, for the 89th time.



Waylon & Jessi ~ Storms Never Last



So, you see, there were a lot of nice singles for me to buy in 1981, and to play on my new shiny stereo system.

There are more that I remember (in scanning the list of top singles for the year), but, you know how it goes.  Videos are often impossible to find.  Other songs, well, I've featured them in other posts.  That doesn't mean they're not good; it actually means they're really good.  I just didn't want to repeat myself.

Sure, I'd slap on an album, if I was busy cooking, or cleaning.  But if I was really listening to music, and just listening to music, it was the singles, I'm afraid.

Billy Sherrill would say, "See?  I told you so."

Tuesday, November 18, 2008

The CMA Awards - What's New In 1982!

I don't like to prejudice you right off the bat, but welcome to one of the most boring awards years ever!

Yes, 1982. I think people were feeling kind of apathetic. "Oh, just pick someone. We don't really care."

And, in scanning the news events of the year, it appears that nothing really happened.

Even in pop culture, things looked bleak. The most popular TV shows were horrid - empty calories, to be sure: Dynasty, Dallas, Falcon Crest, The Love Boat, Magnum, PI, The A Team:



Popular music? Ish. Here are some of the hit songs: Ebony and Ivory, Abracadabra (I wanna reach out and grab ya), I Can't Go For That (oh no - no can do!), I Love Rock and Roll (which is basically the title repeated over and over).

The movies were atrocious. If it hadn't been for E.T., I think everyone would have just stayed home and watched The Love Boat.

So, that kind of tells you what's coming, in the world of the CMA awards.

To start things off, CHET ATKINS was named INSTRUMENTALIST OF THE YEAR for the thousandth time. Again, who doesn't love Chet Atkins? But I'm thinkin' there were some other guys around, playing instruments, too.

The VOCAL DUO OF THE YEAR once again were DAVID FRIZZELL and SHELLY WEST. As I mentioned in my 1981 post, there are no videos available of David and Shelly performing. Now, seeing as how one can find pretty much anything they could ever dream of on YouTube, I just have this nagging suspicion that there's some kind of legal stuff involved with the "no videos" situation.

But, two can play at that game.

If we can't have David and Shelly, then let's go with the relatives. First, here's Mom:



Despite the hair, this is still one of the best country songs ever (and Dottie wrote it).

And now - David's brother:



Wow, one of Merle Haggard's heroes - can you tell? I never realized just HOW similar their voices are. Hearing this (and not seeing it), I would be hard-pressed to tell if it was Lefty or Merle.

So, the lack of David/Shelly videos actually opened up an opportunity for me to post some superior performances. Ha ha! I win again!

The INSTRUMENTAL GROUP OF THE YEAR and VOCAL GROUP OF THE YEAR were once again ALABAMA. The introduction to this video states 1983, but this song was released in 1982 - I looked it up. With introductions by two of my all-time faves, Tammy Wynette and Ray Stevens, here's Mountain Music:



Some great fiddling by Jeff Cook!

FEMALE VOCALIST OF THE YEAR was awarded to someone new this time - JANIE FRICKE.

An interesting fact about Janie is that she began her career as a background singer in Nashville. During that period, she recorded an uncredited vocal part for a single released by Johnny Duncan, "Stranger" (written by Kris Kristofferson). Nobody knew who the female singer was, and there was a bunch of speculation about who it could be. (Hers was, to me, the best part of the recording). This event led to Janie's solo recording career. Again, there is no video of this song, but here's a nice picture of a radio to look at while you listen to it:



And here's the actual Janie, in person:



It's relatively easy to wrap up three categories at once; those being SINGLE OF THE YEAR, ALBUM OF THE YEAR, and SONG OF THE YEAR.

Ya gotta love Willie. He's just a likeable guy. Watching him perform, you just feel relaxed (as is Willie from......well, you know).

So, Willie scored big at the 1982 awards, as did writers Wayne Carson, Johnny Christopher, and Mark James, with:

ALWAYS ON MY MIND - Single of the Year, Song of the Year, Album of the Year

(How many writers does it take to write a hit song? Insert your own punch line here.)



Kind of an interesting development in 1982 was that the person who won the HORIZON AWARD (for best newcomer) also won the MALE VOCALIST OF THE YEAR award. I guess his career was on a fast track!

Well, this guy has had quite a career, and to think it all started with the Horizon Award. Ricky is a bluegrass artist at heart, but he managed to co-mingle bluegrass and country and shake up country music a bit.

MALE VOCALIST OF THE YEAR - RICKY SKAGGS

(This is one of them new-fangled "music videos". Sorry I couldn't find any older live performances by Ricky, so this'll have to do.)



That leads us, of course, to the big event of the evening, ENTERTAINER OF THE YEAR.

I'll just say right now, I blew it by posting their "better" song already above, but since I want to stay chronologically correct, here's a song that was released in 1981, just in time for the 1982 awards.

Don't worry - they had A BUNCH of other songs, and won A BUNCH of other awards in years to come, so there'll be more opportunities to watch:

ENTERTAINER OF THE YEAR - ALABAMA


COUNTRY MUSIC HALL OF FAME

There were three inductees in 1982. I think the CMA figured they'd better start playing catch-up, and fast.

Roy Horton

This whole CMA blogging thing has given me an education in the roots of country music, since I am unfamiliar with some of these names. For example, Roy Horton.

Roy started his career around 1939, as a bass player. He backed up a guy called Red River Dave (not to be confused with my Red River Dave).

In the 1940's he became a promoter with Peer-Southern Music, and helped to promote the careers of artists such as Jimmie Rodgers, The Carter Family, Bill Monroe, among many others.

Here's some rare (and very cool) footage of Jimmy Rodgers (another of Merle's heroes, by the way), singing, "Waiting For A Train" :



Lefty Frizzell

I swear, I had no idea when I posted a video of Lefty above, that he was inducted into the Hall of Fame in 1982. Weird coincidence!

Lefty recorded many, many classic songs. For some reason, he's not well remembered, except by the likes of Merle Haggard. And I'm not sure why.

He obviously had a huge influence on other artists (notice in this video how George Jones apparently picked up a few style pointers).

I'm thoroughly enjoying watching videos of Lefty, and while this one is of really poor quality (from an early, early Porter Wagoner Show performance), it's still a lot of fun to see:



Here's one more:



Lefty died at the very young age of 47 in 1975, after a hard-lived life. That happens a lot to true artists. The ones who make it "to December" (like Merle), I think are basically just lucky.

Marty Robbins

Well, gee. I wrote a whole long blog post about Marty Robbins awhile back, because you can't write about Marty in a couple of sentences. If you want to read my post about Marty, click here (and then scroll up, because for whatever reason, the links always land you at the bottom of the post! It's aggravating.)

So, all I can really say is that when I watch videos of Marty, I realize once again what we lost when Marty passed away. He was only 57.

Marty was also a hero of Merle's, so somehow these posts tend to develop a continuity all their own.

Here's Marty, as only Marty can be:



So, there you go; 1982. If it hadn't been for the Hall of Fame inductees, it would have been a relatively boring year.

But we always manage to find something fun, and this time was no exception.

Sunday, November 16, 2008

The CMA Awards - 1981

Ahhh, the eighties are a'rollin' now! We got past that first hurdle - 1980 - so now it's onwards and upwards!

Think back to 1981, if you can. I couldn't. So I looked it up. There were, of course, some major events that year (as in every year - duh). And most of those events seemed to revolve around President Ronald Reagan. "Well", he started out his year just dandy.....by being shot. Not a good way to start your year. Later, he fired the striking air traffic controllers, and he named the first woman to the Supreme Court (which, in hindsight, wasn't a real great choice).

Not to be outdone, Pope John Paul II was also shot.......twice.

Prince Charles married Lady Diana Spencer. (He later asked, "Couldn't I have just been shot?")

In pop culture, Blondie and Hall & Oates and Dolly Parton, along with Sheena Easton, all had big hit records.

Clint Eastwood was starring with a chimp in the sequel, "Any Which Way You Can". And Burt Reynolds was camping it up in "Cannonball Run".

CBS was leading the TV hit parade, with shows such as "M*A*S*H", "Dallas", "The Jeffersons", and, of course:



And, you know, they kep' a'showin' his hands, but not his face on TV (3rd reference! - I'm a'goin' for a record!)

Which leads us into the 1981 CMA's.........

Strangely, the CMA voters liked the 1980 SONG OF THE YEAR so much, they decided to award it twice!

Yes, that's right. "He Stopped Loving Her Today" was again named song of the year. Writers Bobby Braddock and Curly Putman couldn't have been more pleased. Not to mention the repeat MALE VOCALIST OF THE YEAR winner, George Jones.

And here's the man himself, performing on, surprise! The 1981 CMA Awards telecast. (He knew the song pretty well by now.)



Our FEMALE VOCALIST OF THE YEAR was, well waddaya know - Barbara Mandrell! Sort of a letdown after the previous year's entertainer win, but still! And she won the award by recording crappy songs such as:



Almost as bad as "Sleepin' Single In A Double Bed", but not quite.

The HORIZON AWARD winner in 1981 was Terri Gibbs. Yes, she only had one hit song, but these horizon awards are tricky to predict. Who knew? Wonder whatever happened to Terri. Well, wonder no more. Here's Terri's official website: Terri Gibbs

I always kinda liked Terri. She seemed quite geniune. Here's the only performance I could find on YouTube of Terri doing her big hit number, "Somebody's Knockin'":



Chet Atkins again won INSTRUMENTALIST OF THE YEAR. No offense to Chet, but, you know, there were other musicians in Nashville around this time.

The ALBUM OF THE YEAR couldn't have gone to a nicer or more deserving fellow. This album went platinum, and rightly so. "I Believe In You" by Don Williams.



The VOCAL DUO OF THE YEAR had one of my favorite country songs. Strangely, there are no videos to be found of the two performing this song. Probably some legal mumbo jumbo or something.

But I did find some embeddable audio of DAVID FRIZZELL and SHELLY WEST performing, "You're The Reason God Made Oklahoma":

DAVID FRIZZELL & SHELLY WEST-Youre The Reason God Made Oklahoma.mp3 -

Both of these artists have a pedigree, per se. David is the brother of legend Lefty Frizzell, and Shelly is Dottie West's daughter.

Interestingly, this song was featured in a 1981 movie, which I just happened to reference at the beginning of this post; Clint Eastwood's "Any Which Way You Can". That might have helped them win the award; I don't know. But I still really like this song.

Since I can't find any videos of the two performing together (I'm thinking there might be bad blood between them; what do you think?), here's a link to a CD of duets and solo tracks by David and Shelly (Hey! David and Shelly! That's like my husband and me! Hopefully there's not any bad blood between us.)


The SINGLE OF THE YEAR was kind of a "fun" song, starring the Oak Ridge Boys. Well, technically starring Joe Bonsall, Richard Sterban, and William Lee Golden's boots. Here's another performance from the 1981 CMA Awards telecast (which is always nice, since I'm talking about 1981) of "Elvira".



This is but a simple song, that continues to rise to a higher key as it goes along. Which makes it much easier for R. Sterban to hit those "low" notes. And is it just me, or is Richard kind of drunk with power on this number? Every time he does his "oom papa oom papa mou mou", the audience squeals. Heady stuff, no doubt. You gotta feel kinda bad for Duane Allen, though. He doesn't have any room to shine on this number. Even William Lee's boots get more attention than poor Duane.

Say what you will about the Oak Ridge Boys. They were superstars way back when, and I certainly enjoyed seeing them in concert. And, if you want to catch up with the "boys", just click here

In keeping with the "four man" theme, we now come to both the INSTRUMENTAL GROUP OF THE YEAR and the VOCAL GROUP OF THE YEAR.

I don't exactly know how they won the instrumental group award, unless it was for Jeff Cook's mean fiddle, but nevertheless, they won. And mark my words, they would continue to win awards for years to come.

Who am I talking about? Why, Alabama, of course.



Just a bit of background that matters to no one but me......In my small town, way back when, the concerts were few and far between. So, one went to basically any concert that was available. And Alabama was certainly a touring band! I saw them many, many........many times. Sometimes I couldn't really "see" them, because I was sitting high up in the nosebleed section. But I could still spot Randy's beard a mile away! I sort of became jaded. "Oh, here we go; Alabama........again." But that's kind of cruel and undeserved. If it hadn't been for Alabama, I'd have been sitting home on a Friday night, watching Johnny Carson doing his Floyd R. Turbow skit for the thousandth time. Not that I don't love Johnny, but one really needed to get out of the house once in awhile.

So, here we are, at the end of the awards ceremony......except for, hello! ENTERTAINER OF THE YEAR.

No doubt, it was time to head into the kitchen to serve myself up some crackers and cheese, because he we go! Another LONG acceptance speech.

While Barbara was thrilled, thrilled to pieces, to win the entertainer of the year award in 1980, she was shocked - SHOCKED, mind you, to win it again in 1981! And there were SO many people to thank. Especially the little people. No, not the little people from the Wizard of Oz. Silly. The little people like YOU. The FANS. Without whom none of this would have been possible. And GOD. So, in essence, the little people and God.

I know that I come off as not liking Barbara Mandrell, but that's not true. What I didn't like were her insincere acceptance speeches. If she'd just performed, and NOT TALKED, I would have been happy as a clam!

Here's a performance of Barbara's from around that time.

And before we take a gander at it, let me just say that, no, she wasn't country when country wasn't cool. Barbara, in fact, can shoulder a lot of the blame for steering country in the direction that it's gone.

Barbara, with the scores of costume changes. Barbara, with the background dancing troop. Yes, Barbara wanted to expand her horizons, and there's nothing wrong with that. But at what cost?

She was the "pre-Reba". Both of them started out as "country" singers. Then their ambition led them to places where no self-respecting country fan wanted them to go.

And now we've got this mess to clean up.

And, ironically, Barbara now sounds "country", compared to the ones who've followed in her footsteps. See, give 'em an inch........

Here's what country used to sound like, way back when:



COUNTRY MUSIC HALL OF FAME Vernon Dalhart

Vernon Dalhart was an early pioneer of country music. With songs such as, "The Prisoner's Song" and "Wreck of the Old '97", he scored some of country music's first million-selling records.

It's important that we not forget from whence we came. Yea, he was country when country wasn't cool.

Here are the Statler Brothers, performing "Wreck of the Old '97":



Grant Turner

Grant Turner was the voice of the Grand Ol' Opry for 47 years. 47 years! Yowza! He was the only disc jockey to be inducted into the hall of fame until the year 2007, when my friend and yours, Ralph Emery, got his just due. Not too shabby, Grant Turner!

So, the nice thing about the year 1981 was that we saw some new faces emerge. No doubt, as the eighties wind around, we'll see many of these same folks again. But it's always nice to recognize some new talent.

Not a changing of the guard, per se, but a new day dawning on the landscape that is the CMA awards.