Showing posts with label rodney crowell. Show all posts
Showing posts with label rodney crowell. Show all posts

Thursday, October 10, 2019

A Country Album Primer

The word is that Ken Burns' "Country Music" series has sparked a sudden surge in country album sales. Folks who heretofore disdained country music are suddenly interested because it was featured on PBS. But where to start? Hank Williams? His songs, while superbly written, have that old-timey, antiquated sound. Johnny Cash? Download one track ~ they all sound the same. Don't waste precious dollars on a whole album until you understand what you're getting into. Nothing too twangy ~ the neighbors might be appalled. That eliminates Dwight Yoakam. Patsy Cline is pretty safe; her songs were "pretty" and featured lots of strings.

My advice:  Start with 1975. Emmylou Harris's second album, Elite Hotel, was a revelation to a jaded country fan like me. There is little good to say about country music in the nineteen seventies ~ it had lackadaisically bumped up against the doldrums. However, every decade of music has at least one breakout star, and Emmylou Harris was that. I don't recall, but I think I first heard a single by Emmylou, "If I Could Only Win Your Love", on my car radio. I had no idea who the singer was, and if I didn't catch the DJ's patter at the right time, I wouldn't find out until the next time the track was played. She was definitely country, updated; with the voice of an angel. Elite Hotel, featuring songs written by the likes of Buck Owens, newcomer Rodney Crowell, Gram Parsons, Hank Williams, Don Gibson, and even Lennon/McCartney; the album combined old and new and still sounded "old". Or perhaps "classic" is a better term. Emmylou was a vocalist who didn't dismiss country or try to change it. She simply improved upon it.

For the country novice, what could be better? It combines Hank and Patsy and Buck; it introduces a soon-to-be classic songwriter; it harks back to the sixties country-rock sound of bands like The Byrds.

To wit, here is a country primer for the newly-converted:

"Amarillo" ~ co-written by Emmylou and Rodney Crowell:



"Together Again" ~ Buck Owens:



"Feelin' Single, Seein' Double" ~ the awesome Wayne Kemp:



"Sin City" ~ Gram Parsons and Chris Hillman:



"One Of These Days" ~ Earl Montgomery:



"Till I Gain Control Again" ~ Rodney Crowell (again):



"Here, There and Everywhere" ~ some guys named John and Paul:



"Ooh, Las Vegas" ~ Gram Parsons and Ric Grech:



"Sweet Dreams" ~ Don Gibson:



"Jambalaya" ~ Hank Williams:



"Satan's Jewel Crown" ~ Edgar L. Eden:



"Wheels" ~ Chris Hillman and Gram Parsons:



My favorite? For sheer beauty, it's "Together Again". For reminiscence, "One Of These Days". But I think I like "Wheels" the best.

Elite Hotel combines everything a country lover or country novice could ask for in a classic album. For a forty-four year-old album, that's damn good.

I would start here.






Thursday, September 12, 2019

September Is Country Music Month ~ I Almost Missed The Eighties


Unlike today when country music really is dead, by the dawn of the eighties I was convinced (erroneously) that my favorite music had bit the dust. I mostly gave up on listening at all, although a part of me kept checking in just to make sure I was right. Decades-long habits are tough to break.

Country was dominated by Kenny Rogers and a newly-pop Dolly Parton. Alabama was still clinging to the charts, but I was frankly tired of Alabama. In my little town, we didn't get a lot of concerts, but Alabama showed up almost once a year; thus I went, simply to see live music. They were the sort of group if asked one's opinion about them, we would say, "they're okay". I don't mean to knock Alabama; I just wasn't excited by their music. I caught a couple of artists on the radio I liked ~ new girl singer, Johnny Cash's daughter, Rosanne; and I still was a fan of the Oak Ridge Boys. The movie Urban Cowboy was released in 1980 and almost smothered country's breath. I saw the movie with my mom, because we both liked country; she superficially; me reminiscently. The soundtrack was not good. It was a gloppy stew of disjointed songs. And if I never again hear Lookin' For Love, I will consider myself blessed.

Sometime in the early eighties a new channel slipped into my cable lineup ~ MTV. I found that the songs were catchy and it seemed that, unlike country artists, the musicians really liked what they were doing. So I made the wrenching decision to forsake country completely. My car radio preset became pop station Y93. Ask me anything about eighties pop and I can tell you. Mention early Judds and I'd ask, "who?"

The eerie thing about skipping a few years of country was that I did it just as the genre was making a comeback, and I completely missed it. Who did I miss? The afore-mentioned Judds, George Strait, Randy Travis, Dwight Yoakam. I stopped in to visit my mom and dad one evening and they were watching a VHS tape of George Strait in concert. Of course, I didn't know who George Strait was, and I tossed my head derisively. I'm sure I clucked my tongue, too. The next day, just to make sure I'd been right, I twirled my car radio dial to the local country station and gave it a trial listen. I was flabbergasted to hear actual country songs, real country songs; and no longer analog. The steel and fiddles were so crystal-clear. The bass pounded like a heartbeat. There were drums! The artists seemed unafraid to burst forth with actual passion. 

Damn! I'd missed it!

I heard others, whose names I'd eventually learn: Kathy Mattea, Rodney Crowell, Ricky Van Shelton, Restless Heart, Highway 101, Nitty Gritty Dirt Band (who I knew, but not like this). Foster and Lloyd, Clint Black, Steve Wariner, Holly Dunn, Earl Thomas Conley, Marty Stuart.

I didn't stop watching MTV, but I found a new channel called CMT. It had music videos, too, and they were country! This whole revelation was mind-blowing! Maybe all it took was for me to go away for a while (unfortunately, that theory hasn't worked for the last 20 years).

I'm not completely convinced the nineteen eighties were the best decade for country music ~ the sixties and nineties are stiff competition ~ but the eighties roped me back in.

So, to celebrate September as Country Music Month, let's look back at the best songs of each tick of the eighties:

1980:


1981:


1982 (hey, I'm no music snob):




1983:


1984:


1985:


C'mon:


1986:


1987:


Sorry, too many. Here's a bonus:


Awesome:


More awesome:


1988:


Bonus:


Bonus #2:


1989:


Bonus:


Bonus #3!




I could go on and on and on, but I'll stop here.

Thank you, Randy Travis and George Strait, for re-inventing country music.

And thank you, Dwight Yoakam.

A couple or three of these songs were written by you, Rodney Crowell. I am in your debt.

This is country music.

There you go, Ken Burns.





















Friday, April 12, 2019

Music Biographies

I get most of my Kindle books from the library, because I don't want to spend good money on something I won't like, plus it's easy, and I'm on a budget. My preferred genres are music biographies and true crime.

Procuring books from the library does limit my options. If the book is brand-new, the library won't have it. For example, I'm salivating over Randy Travis's memoir, which won't be released until May, which means my library will have sometime in late autumn (I may have to break down and purchase that one.) So I grab whatever's available and looks semi-interesting.

I find that biographies are much more interesting than autobiographies. It's hard to write about one's own life ~ it's a fine line ~ the experiences that mean so much to the writer will be pages that are swiped by the reader. There are exceptions, of course. Two autobiographies I recommend are:


Some memoirs I've read have infuriated me ~ the ones that sink into political grievances, for instance. If one's life is summed up by politics, that's kind of sad. Others have completely bored me (sorry, John Fogerty ~ a ghost writer might have been a judicious choice). 

I've read a ton of memoirs by former rock and country stars, and common themes in all of them are:

  • Sports hobbies, from tennis to race car driving to skiing, consume far too many tedious pages. The reason anyone is reading your book is because we like your music. Talk more about that.
  • After four or five failed marriages, the artist has finally found sublime happiness with a girl thirty years his junior. Here's a tip ~ that's kind of creepy.
  •  Illicit drug consumption is something to regret; not celebrate. Even Keith Richards gets that. It just makes you look pitiful.

Musicians who have journalism degrees think their writing is great. Apparently they missed the class on the prudent use of adjectives. Another annoying literary device is time-skipping. "This reminds me of the time twenty years ago, when I..." You're writing about your life ~ was your life rife with time travel? I sometimes wonder if it's a stream-of-consciousness writing style that no discerning editor dared question.

Some memoirs scream, "I'm an auteur!" Springsteen's book might have been okay, but after about three chapters all I focused on was how hard he was trying to be literary, and I gave up.

I enjoyed Patti Smith's memoir and I barely even know who she is. Because the writing was engaging.

Writing is a muscle that requires constant flexing. I despise lazy writing because I understand how hard writing is. Granted, I'm not paying actual money for most of these books, so maybe I deserve what I get. Everyone isn't good at everything. Being a musical virtuoso doesn't guarantee a mastery of every other artistic endeavor.

My advice to would-be memoirists ~ find a co-writer.

I, however, still love their music:









Saturday, June 23, 2018

"Country Music Is So Depressing"


As long as I've been listening to country music, which includes my pre-country music period (my mom and dad's music) as well as my three-decade obsession, from approximately 1967 to 1999; I've heard two criticisms:  country music is soooo corny and country music is too depressing.

I never found country music depressing. A track by Little Texas never once made me consider killing myself. Of course there are sad country songs -- country music is just like life; sometimes we're happy; other times wistful. Sometimes we feel giddy and silly; ready to break into a dork dance. And sometimes our hearts are broken.

The times when I've been sad, I wanted music to wallow in. Crying is sorely underrated. Right after my dad died, I sat in my room and played Ray Price's "Soft Rain" over and over and over. The grief I couldn't put into words, Ray did, and perfectly.

I don't know what those judgmental people are listening to, but obviously not the country music I know. In the eighties and nineties country music was glorious, even the sad songs.

This is ostensibly a sad song. Does it sound sad?


Likewise:


If it's got a good beat and one can two-step to it, sad or not, it's happy. At least it makes me feel happy. 

And, you know, everyone in country music is not heartbroken:





Sometimes they are falling in love and it's just now hit them:



As a country music historian, I know there are (old) songs that are frankly, maudlin, or at least cheesy. Do you like every rock song every recorded? Don't judge a whole genre of music by "I Wish I Was A Teddy Bear" and "Honey". In my teens and pre-teens, I felt obliged to defend the bad country songs, because people were so vociferous in their hatred. "Folsom Prison Blues? Yea, really great with that chunka-chunka guitar." Guess what? I didn't like that song, either. I also didn't like Rose Garden, but had I named a good country song, I would have gotten quizzical stares, because all those people knew was what was played on Top 40 radio. 

I wasn't a top forty kind of gal. I had taste; not that it mattered one whit to anyone but me. But that's okay, actually. When it comes to music, I only need to be true to myself. 

And, no. Country music is not depressing. Unless you want it to be.






Sunday, May 27, 2018

1979

(Can you imagine taking your music with you?)


1979 was in many ways a depressing year. We had a depressing, nay, dreary president. He could sap the fun out of any gathering. He lectured us on TV about our "malaise", not realizing that he was the one who caused it. It was as if by telling us how disappointing we were, we'd snap out of it.

One exciting event of that year was the exploding Ford Pinto. When you drove a Pinto, it definitely took you for a ride. Lucky for me, I had a Chevy Vega.

The Iranian Ayatollah decided to take 44 Americans hostage in December, which resulted in the launch of a 10:30 p.m. TV show called "Nightline", starring Ted Koppel's hair. Our hapless president only managed to make things worse by authorizing an ill-fated mission to rescue the prisoners. The operation went spectacularly wrong. 

In household news, Black and Decker introduced something called the "Dustbuster", It was ingenious. Everyone who was anyone raved about their little cordless vacuum. One pitfall of the new invention was that the batteries went dead right in the middle of sucking up toast crumbs from the shag carpet in front of the sofa. Yet we all felt so "with it". 

ESPN came into existence in '79. I never watched it, because---sports. On the other hand, a new network called Nickelodeon showed up on cable and we watched it religiously, because---kids. Otherwise we watched 60 Minutes on Sunday nights and followed Mike Wallace as he stalked some unsuspecting scofflaw around dark corners. 

Jack Tripper and Chrissy and Janet lived upstairs from the Ropers and sexual innuendo ensued. Eventually, Suzanne Somers wanted to leave the show because she felt her salary was a mere pittance; so thenceforth she phoned it in, literally. Every episode featured a shot of Chrissy on the phone with her apartment-mates, to convince the TV-watching rubes that all was all right on ABC Tuesday nights. 

Friday night was "Dukes of Hazzard" night. My three-year-old was obsessed with the show. I wasn't sure why. I did get a kick out of the fact that my son thought the sheriff's name was Roscoe PECO-Train. For my part, I liked the theme song that I surely knew was performed by Waylon Jennings, even though they only showed his hands, but not his face on TV.



Musically, we still possessed stereo components. Sure, Sony had this new gadget that claimed to let one port one's music, but that was kind of goofy; silly. Why did we need to carry our music with us? We had the car radio! This seemed to me akin to the Dustbuster; a sad trail of dead batteries.

Country music was sad, and not in the traditional way. Our big stars were Kenny Rogers and Dave and Sugar.

There were a few sparks, though. This song featured Linda Ronstadt on the original recording. This performance, however, does not. But she couldn't be everywhere. I do want to say, thank you, Rodney Crowell. If it wasn't for you, 1979 would have been lamer than it already was.


Speaking of the Dukes of Hazzard and Rodney Crowell:



In kids news, a McDonald's Happy Meal was a treat that was affordable, even for us, at $1.00. The Muppet Movie was the tenth highest grossing film of the year, and taking a one-year-old and a three-year-old to the movie theater was an experience no parent should miss, for the wailing and the seat-climbing and the chaotic showers of popcorn. Oh, and the movie was good, too.

To relieve the stress and relax my tendons, when we reached home I listened to this:




Anne Murray was still making hits, and I liked this one:



Fashion-wise, we favored bib overalls. Beneath those, we wore blouses with puffy sleeves and a tiny bow at the neck. Throughout the seventies, women wore one-piece contraptions that were hell to undo when one had to pee. Therefore, we were careful to limit our liquid intake. I worked part-time at a retail establishment, so I had to dress up. Since my hourly wage was $2.65, I shopped at K-Mart for work attire. I picked up some below-the-knee skirts and twin sets and high-heeled plastic slides. I purchased my pantyhose at Woolworths, however, because they carried the size that fit best. I honestly don't think I took home any money from that job, after laying out all my earnings to buy appropriate work attire. Wearing pants to work was unheard of. Velour was also the fabric of choice, but if I ever owned a piece of velour clothing, I've blocked it from my mind.

At 9:30 p.m., when I landed at home after work, I poured myself a glass of....Coke...because I didn't drink. I slipped the stereo needle on this:



One can't underestimate the influence the Oak Ridge Boys had on country music in 1979. Aside from Kenny Rogers, who wasn't country, no act was bigger. This video is notable for the lack of giant white beard on William Lee Golden's chin:


In a nutshell, the biggest country acts of the year, aside from Kenny and the ORB's, were Eddie Rabbitt, Crystal Gayle (yes), Moe Bandy, and Don Williams. Some were nearing the end of their careers, some were one-offs, some had a couple of decades yet to go. 

In the daytime hours, TV was what TV was -- game shows in the morning, Days of Our Lives in the afternoon. In between, advertisers took great pains to inform moms what they needed to feed their kids to keep them happy and healthy -- KoolAid, Ore-Ida french fries, Kraft Macaroni and Cheese -- all the nutritious choices. On the plus side, however, mothers were still a "thing" then. And kids. 

Also, AT&T urged us to reach out and touch someone. I didn't know many people with whom interaction required a long-distance phone call, but if I'd made any "friends" on vacation, trust me; I wouldn't have called them.


Generally with music, I chose to avoid chaos. Life was chaotic enough, with two kids under the age of four, and with my part-time job that ostensibly "contributed to the family coffers". Better days were to come, but that's what days generally do, if one is lucky. 

Meanwhile, I relaxed to this:












Saturday, May 5, 2018

Record Albums


The memory is a wonderful thing. We all remember the awesome albums, the "Help!" and the "Easy Come Easy Go".

We overlook the fact that we spent countless dollars throughout our lives on albums that were essentially worthless.When I was around thirteen and finally had $4.99 to purchase a record album now and then, my modus operandi was hampered by the fact that one of the only stores that was traversible by city bus was JC Penney. Penney's basement not only housed their booming catalog department but also bins of record albums. Unfortunately, the store management didn't want to take space away from the fiberglass drapery displays and shiny aluminum percolators, so the record racks were skinny. We had Loretta Lynn and George Jones, Melba Montgomery and, of course, Johnny Cash. If Alice and I showed up at just the opportune moment, we might snag a Merle Haggard. I had the damnedest time locating Waylon Jennings' RCA debut. So I bought a lot of stuff I didn't even want because I just wanted to buy something. If someone were to look at my record collection, they'd think, wow, she must be a big fan of this "Carl and Pearl Butler". No. This was what the store had.

I eventually amassed a decent collection of albums by artists I actually liked -- Merle, of course, Lynn Anderson, Faron Young. However, the records released by some artists I truly admired were awful. Tammy Wynette would stick two hits on an album, the first track on Side A and B, and fill the remainder with dreck; cover songs or vanity songs written by a distant relative or friend of the producer. Country albums weren't viewed so much as "artistic" as they were regarded as "$$". Rock fans wanted albums; country fans wanted the hits. It took Merle to change all that.

In the seventies, I bought Barbara Mandrell albums and a lot of Statler Brothers, some Gatlin Brothers; one by a new group called the Oak Ridge Boys; some gems like Gene Watson and a brand new girl named Emmylou. I was in love with Eddie Rabbitt. Albums got better, but I mostly dropped the phonograph needle on the hits, with a couple of deep tracks thrown in. Barbara Mandrell's albums, for instance, could be counted on to feature crisp clear renditions of her latest hits and a bunch of forgettable stuffing. There were artists who never quite garnered a lasting career, but should have, like LaWanda Lindsey. I also remember purchasing a disc by someone called La Costa. It turned out she was Tanya Tucker's sister. I was enamored of her album for a while. She had a track called "Best of My Love" that I really liked. The credits beneath the title read, Frey and Henley. No clue.

By the eighties, I knew what I wanted and what I wanted to buy. By then, at least, I had Musicland, which was one quick zip away from my house to the local mall. My sister sent me a gift certificate for a CD. I didn't own a CD player. So I bought one. The very first CD (free, thanks to my sister) I bought was "Keys To The Highway" by Rodney Crowell. I took it home, scraped off the shrink-wrap with my fingernail, pried open the hard plastic clasp with a kitchen knife, inserted the flat circle into my new player and stood back and let the crisp music caress my ears. The CD wasn't even that good, but that sound!

Thus began my collecting phase. I determined to buy every single George Strait CD and I did. But as much as I love George, every album wasn't a gem. Every once in a while George released one that made my heart soar, but frankly, I granted George a whole lot of leeway. Dwight was more dependable. Dwight was my "other collectable". The eighties for me can be summed up by the names George and Dwight.

By the nineties I had Mark Chesnutt and Diamond Rio and Restless Heart. One cannot go wrong buying an album by Mark Chesnutt.

And then I stopped.

I now have lots of digital albums that will dissolve like ether once my current computer dies. Now people buy "songs", which isn't a bad bet. Albums, aside from the Beatles and Merle, are money suckers.














My work is done.





Sunday, July 2, 2017

1989 In Country Music Was Damn Good


Sometimes I wonder if my life can be measured by the jobs I've held. I sincerely hope that's not true. But when I think back to 1989, I remember my work life being in flux. I'd left eight comfortable years of being the girl behind the desk on the medical floor of our local hospital, and I distinctly remember why I left. Monday evenings were a flurry of activity on the medical floor. Folks who'd been sick all weekend, but who'd told themselves, just hold on -- maybe I'll be better by Monday -- had finally given in and made an appointment to visit their personal physician, and found out, why yes, I really am sick! Sick enough to be admitted to the hospital, in fact. Thus, admissions came fast and furious on late Monday afternoons. The medical floor had three wings. One was for telemetry (heart) patients, and the other two -- Central and West -- were for general illness. I juggled admissions as best I could between the available wings. The nurses were sorely overworked and I endeavored to rotate new patients so none of the RN's and LPN's became overwhelmed. Sometimes that was an impossible task. I guess my final room assignment was the last straw for one of the RN's who I'd considered a friend. She took a moment out of her whir of vitals and wheelchairs and sputum cups to voice her displeasure. Essentially, her position was that I was deliberately tormenting her and she was disappointed and disillusioned with me. I don't think I said a word in response; I just stared at her, feeling like a bug she keenly wanted to stomp beneath her white oxfords. She and I had shared breaks -- sat in the nurses' lounge and smoked our cigarettes on moonless nights -- laughed together about goofy goings-on in the Pharmacy Department; shared anecdotes about our kids. And now she hated me. I left the hospital at the end of my shift and went home to my torture chamber bed and tossed and scrunched around most of the night. I felt unjustly accused. I had simply done my job the best I could, in impossible circumstances.

The next day I scanned the hospital bulletin board for open positions and promptly applied for one in the Admissions Department. I was hired in a flash. The medical center had a policy of filling jobs from within. Thus, I sat in a high-backed chair in an office with three open-air slots, evening after evening, right next to the switchboard operator's glass-encased cubicle, and awaited new "check-ins". Every department within the facility had its specific wardrobe requirements, so I switched from navy blue polyester uniforms to some kind of baby blue stiff starched linen. I guess that was how one could be readily identified -- slotted in, as it were. I hated registering new patients. I felt clumsy and asked the wrong questions or inevitably forgot to check a specific box on the admission form. I couldn't remember which forms I was supposed to stamp beneath the heavy iron contraption, and creating the little plastic identification cards with a "C" for Catholic and remembering to include the "Mrs." before Verna Schuffeltd's name seemed beyond my brain's capacity. The truth was, I simply hated my new job. I missed knowing what I was doing; missed the breezy efficiency with which I'd whipped out lab orders and missed the nurses I'd come to know so intimately. I hated the stilted quiet of the admissions office and longed for the familiar cacophony of real life.

I lasted a week or so in my new position, and then I lied and told my new supervisor some tale about how the schedule wasn't working for my family.

If I hadn't been shot through the heart, maybe I'd still be at that hospital today. I'd be the elderly gray-stranded woman everyone allows to cut in front of them in the cafeteria line, because, you know, she reminds me of my grandma!

I padded across the sliding-door threshold of the hospital one final time. I had no plan. I had no options.

In my small town, the newspaper's want ads for "clerical work" encompassed a line space approximately the width of my thumb. I innocently assumed I could always get a job with the State Government -- my fallback. I'd begun my "career" working for the State, and trust me, they'd hire practically anyone they could confirm was actually drawing breath. And I sort of did get hired by the State, but it was a downtown (not at the State Capitol) temporary part-time job as a receptionist for the Teachers Retirement Fund. My duties consisted of passing out mail and typing occasional letters on an IBM Selectric with a correctable ribbon. No more Wite-Out for me! No sirreee! I worked from eight a.m. to noon and couldn't wait to escape that soul-sucking receptionist's desk when the big hand clicked on the twelve. Between mail delivery and the two letters per day I was required to type, I had approximately three hours of non-productive time. I don't recall how I filled those hours -- I'll guess by jamming a Kleenex between the numbers on the switchboard and whisking away the dust. If one wants to achieve invisibility, she should get a job as a receptionist. Most of the staff to which I delivered mail rarely bothered to show up for work, so I had no clue what they actually looked like. They were simply names on a business-sized envelope. Thus, I was taken aback when I finally found what I thought would be a better position -- and full-time! -- and hovered in the doorway of my anonymous supervisor's office to give my notice, and this woman, Mary Smith (as far as I was concerned) expressed dismay and told me they'd been thinking of offering me a permanent full-time position. What? And why? I only had fifteen minutes worth of work to do in the first place. But who knows? If I'd hung around, maybe I'd be the soon-to-retire director of that God-awful place today. I honestly still don't know what they actually did there.

I saw an ad in the newspaper for a medical transcriptionist. No, technically I'd never transcribed medical records, but I did know medical terminology and I certainly knew how to type. Voila, I was hired. This job did not work out well. The owner assured me that a "transcribing machine" was on order and I would settle into my new position just as soon as it arrived. In 1989, a transcribing machine was a 21-inch television-sized word processor. I don't know what was packed inside that behemoth, but knowing technology as I do today, I'm guessing it was a pile of lead plates that served no discernible purpose other than to make the contraption a hernia-inducing heave up a flight of stairs for two unfortunate delivery persons.  Alas, the transcribing machine was a mirage. I sorted mail (yep!) for months into individual slots, drank gallons of coffee, drove to the McDonald's window for a hamburger every day at twelve, came back and tossled envelopes around for a few more hours before checking out and heading home. I know transcribing machines actually existed, because the company had two busily-finger-tapping transcriptionists I envied daily for the fact that they actually had something to do. The highlight of that position was the company's annual trip to Kansas City for, I guess, a transcribing convention. I boarded the plane to KC with the two actual typists and proceeded to get sloshed. Once there, after our sirloin steak dinner, one of the girls (I'll call her "Jill" because I have absolutely no recollection of her actual name) cornered the company's CEO and vented all her frustrations about our boss. Jill then pointed to me and promised I could vouch for everything she was saying. I think I drunkenly muttered something about "not getting my machine". The next day we flew home. Come Monday, each of the three of us typists got called in separately to the boss's office to discuss our Kansas City faux paus. When it was my turn, the office maven asked me if I was dissatisfied there. I piped up that I still hadn't gotten "my machine". "I told you it's on order!" she huffed. "Well, it has been six months," I responded timidly. She then asked me if I wanted to retain my employment with the company. "Well....no," I said. And thus I tromped down the stairway and out the front door. That was the last day I had a single burger and a small fry for lunch from McDonald's.

My job prospects were dire. My family was incomprehensibly understanding. If I'd been a bystander, I wouldn't have been so patient. I compare the employment opportunities at that time to a choice between three entrees that are all putrid -- let's say, liver, seared cow brains, and boiled chicken hearts. Hmmm, what to choose? Okay, I'll take the liver. Maybe I can at least choke that down. Before long, I found a posting for a "Farm Records Secretary". I had no idea what that was, but I understood the three words, singly. I figured stringing the words together would produce a job I could perform, albeit begrudgingly. The Farm Credit office was located on the far edge of a different city from the one in which I resided, but there really was no such thing as "traffic" -- the interstate highway was clear and the morning drive was rather lovely. I could zone out and listen to the radio as the sun rose behind me. I did have a bias against the word, "secretary", since in my experience, secretary meant shuttling a mug of coffee to a man who didn't take the trouble to glance up from his paperwork and make eye contact. Fortunately, my new boss wasn't a man, but a woman who didn't take the trouble to glance up from her paperwork and make eye contact. She was prim. And awkward. Conversation didn't come easily to her. She'd migrated years before from someplace like Oklahoma and hadn't yet lost her Okie accent. Transcribing her recorded correspondence was a challenge. At first I would ask her to clarify a word, but later, finding our interactions less than scintillating, I simply typed the word that seemed to fit best. The previous secretary, who had recently been promoted, trained me, and she was impatient. She kindly ignored me when not giving orders. I didn't like her...at all. In a couple of months, we would become the best of friends. I'm not sure how things like that happen. Maybe we had a common enemy....Mrs. Park. I spent half of 1988 and the entirety of 1989 doing my farm secretary duties. One winter morn, as I endeavored to cajole my rear-wheel drive Ford up the steep hill to the FCS office, I found myself sliding backwards. I flipped the butt of the car into a roadside snowbank and tried again...and again. We'd had a rare freezing rain storm and I was not a well-lit bulb. After about fifteen minutes of fruitlessly trying to push up the hill, I gave up and backed/slid down to the intersection, parked and found a nearby telephone. I called up the guy whose office abutted my receptionist desk -- an older guy who spent his days jawing with ranchers -- kind of a dad-like prince of a man. He soldiered out to where I sat shivering in my Taurus and loaded me in his pickup and shuttled us to the office. As much as may hate our circumstances, there are always angels. Farm Credit Services was full to the brim with nice, nice people. Had it not been for Mrs. Hateful, I might have stayed. But I was basically miserable.

Thus, the music of 1989 was my salve. The Dakota Lounge was full of sawdust and regional bands and a loud juke box. Fridays and sometimes Saturday nights we ventured there, and here are the songs I remember:






 
 



I wonder if this was the number one country single of 1989. I'm going to guess yes:


I haven't left out the king. I wanted to give him a special place of honor, because in 1989 he released one of his top two best albums, "Beyond The Blue Neon"





Ahh, 1989 in country music was damn good.


Thursday, May 4, 2017

How Does One Pick The Best Country Album?


"Best Of" lists are so subjective. I read them with a heavy shake of salt. Honestly, I read them to find out how wrong they are -- in my opinion. That's the thing; it's simply opinion. My list of the all-time best TV shows will be different from yours. Wildly different. And I don't even know if I could pick the all-time best TV shows. That stream is fluid. My husband and I just finished watching a series on DVD that I would now rank in my top five. And we're watching one now on Netflix that's pretty damn good.

Music is a bit different. One can discount current music. And I'm guessing any new music won't crack the Top 100. So, we take a backward glance. But here's the thing; music is emotional. My life experience is my own. Albums that mean something to me, others would say, "huh?" You had to be there. And you weren't. I wasn't living your life, either. See?

Nevertheless, with hindsight I can weed out emotion and be objective; brutally objective. I'm frankly hard to please, music-wise.

Country albums weren't even a "thing" until sometime in the seventies. Oh, there were country albums, but they were vehicles to support a hit single. The modus operandi of the records producers was to slap the big single on track one and fill up the rest of the disc space with cover versions of other artists' songs. Thus, we had Tammy singing D-I-V-O-R-C-E followed by her versions of Rose Garden and Don't Come Home a-Drinkin'.

Even in the seventies country albums were mostly duds. I will say right now that the following are not the best country albums of all time, despite what Rolling Stone Magazine (a real authority on country) says: "Wanted! The Outlaws", "Red Headed Stranger", "Will The Circle Be Unbroken". The Outlaws was a disjointed accumulation of outtakes by various artists slapped together with a sepia-toned wanted poster on the cover. There was no cohesion. It would be like putting a Dean Martin lounge song next to a Reba McEntire ballad side-by-side with a discarded Led Zeppelin track and calling it, "Wanted! A Bunch of People Who Have Nothing In Common". Red Headed Stranger had one decent song, but it was "edgy" in an East Texas version of edgy, which meant "acoustic".  Will The Circle Be Unbroken was a collection of old-time songs featuring instruments like dulcimers and banjos -- a purer version of Oh Brother, Where Art Thou, only without a heart-stirring track like "Man of Constant Sorrow".

This site recently published a list of the Top 100 Country Albums of All Time. I give them kudos for making an honest effort. The list is a bit top-heavy with current albums, but the thing is, one can't rank a current album as one of the best of all time. You gotta give it a couple of decades to breathe. Ten or twenty years to settle into its slot on the shelf next to Merle and George and see if it continues to claim its spot or if it goes into the garage sale pile for 25 cents. (I've got tons of 25-cent CD's; trust me.)

This list also gave "Coat of Many Colors" the number one spot. I never bought that album. I looked at the track listing in the store, and decided to save my six dollars and ninety-nine cents. I probably bought an Eddie Rabbitt album instead and never looked back.

Some on the list I will grant were exquisite albums, but only a few; pitiably few.

So my primer, if you want to sample the greats:


No live performance, naturally. It was an album cut, after all, but here's a sampling:


I didn't know who the heck Rodney Crowell was in 1988. But it was kind of like when I discovered Foster and Lloyd. I didn't know them, but I knew good music. I liked country music, just a bit updated from the lackadaisical Hank Williams sound of the fifties. I liked the bones of country; I just needed a bit more drum, a bit more bass. "Diamonds and Dirt" was country.



To wit:




Dwight Yoakam is...really something. It's almost a badge of honor that the Nashville establishment has never recognized him with an award. Dwight is too cool for those dudes. After spending most of the nineties listening to Hall and Oates (who I still love) and Huey Lewis and the News (who I still love), and various MTV stars, when I decided to give country one more try, it was George and Dwight who informed me what I had been missing. "Guitars, Cadillacs" was a revelation. This is most likely my favorite Dwight album:


Here you go:



In hindsight, some of the best years for country music were the mid-eighties (right after I'd abandoned it, naturally). "If you love something, set it free", apparently. That was a time when "Vocal Group" at the CMA's actually meant something. We had Restless Heart, Diamond Rio, Nitty Gritty, Highway 101, to name a few. We had the Judds. Rosanne Cash, Patty Loveless, Kathy Mattea. Clint Black, Vince Gill, Ricky Van Shelton, Earl Thomas Conley, Mark Chesnutt. I'm lonesome just thinking about those artists and those times.

1986 was pretty damn good for classic albums. "Classic" is one thing; "Best of" is a category all its own. I sometimes repeat anecdotes here, but these two tales are so ironic, they bear repeating:  

My mom and dad, in their naivete, their lack of country music sophistication, slipped one of those VHS tapes into their VCR one Friday night when I'd brought my kids over. Some country wannabe in a Stetson was crooning into the mic. I tossed my hand and sauntered into the kitchen for a cup of coffee. This guy was certainly no Merle Haggard. My ear caught the whine of the steel guitar and the crunch of twin fiddles, however, and I granted (silently) that this music sounded pretty good. I walked back to the living room and plopped on the sofa. "Who's this guy?" I asked, feigning boredom. "George Strait", my mom said. "Straight", I murmured, committing the name to memory. I told myself I should check out this Straight guy next time I stopped at the mall. 

Flash forward a couple of years and Mom called and asked me if I wanted to see this guy Randy Travis in concert. "I'll get enough tickets for all of us," she said. "Noooo, not really," I replied. Who was Randy Travis? Apparently another one of those "new country" artists. I couldn't stand sitting through a concert of yet another dude who pretended to be "authentic". Mom was either in a mood to educate me or wanted to promote some family togetherness, so she didn't give up. "He's really good", she said. I'd dedicated too many years waiting for country music to get good again. Country music was Charly McClain and Crystal Gayle and Alabama, who I'd seen in concert 2,100 times because they toured relentlessly. Country music was Charley Pride re-recording bad pop songs, Louise Mandrell recording a country version of "Reunited" with her husband. Country music was snatching icky pop songs from the charts and adding a touch of steel guitar in the hope that they wouldn't sound as bad as they really were. There obviously weren't any country songwriters anymore. Merle was drowning in cocaine, having a fling with Dolly; trying to stave off time.

I sighed heavily into the receiver."Okay," I surrendered. Another wasted evening, when I could be home watching MTV videos dance across my screen.

The lights went down and this Randy dude walked out wearing a white suit. I stared down at my bag of popcorn and clapped apathetically. I told myself to grow up and pretend like I was having fun. Mom and Dad sure were. Even my sister seemed excited. The dude in white launched into some song about bones; a trite uptempo number. Sure, he had a good voice. I wasn't enamored with his contrived pacing across the stage, mic in hand; but his act was far better than Hank Williams, Jr's, whose concert I had walked out on a couple of years before. I'd seen my share of bad concerts -- my hometown was small enough that one had to take her entertainment where she could find it. My enormous music ego slipped a bit and I began enjoying this new guy.

Then he launched into this:


Okay, that did it. I dropped my popcorn bag into my lap and applauded furiously. I might have even hooted.

The moral of these stories is, always listen to your mom and dad. 

Which, after a long, meandering road, leads me to another of the best country albums of all time, "Storms of Life":


I'm gonna throw in an album that doesn't get the renown it deserves. What CD's would you take on a road trip? Let's say you could only pick five. Hmmm, it's not easy, is it? This would be one of mine:


There were so many great songs on this album, but unfortunately a dearth of live videos. I did see the NGDB in concert. They were on one of those free stages at a festival and they were awesome. One of the guys even played the accordion! This album captures NGDB at their best, "Fishin' In The Dark" not withstanding. 

See:



The best country albums of all time didn't spring to life only in the eighties. Just most of them.

We'll discuss the sixties in another post. 





Friday, November 4, 2016

The CMA'S at Fifty






I have lots of thoughts about fifty years of the Country Music Association awards, and I'm the one to share them, because I watched the very first telecast in 1968.

I didn't watch this year, but I'll catch up on the videos. I'm prepared to be disappointed, but who knows? Maybe I won't be. But I think I will.

Fifty is a momentous milestone. Fifty years of country music!

I remember 1970, when Merle Haggard collected every award except female vocalist of the year. I remember a tipsy Charlie Rich pulling a lighter out of his pocket and setting fire to the card that read, "John Denver". I remember Alan Jackson stopping in mid-song and breaking into a rendition of "He Stopped Loving Her Today" in protest of George Jones not being invited to perform on the awards telecast. I remember when Alabama was a foregone conclusion to be named Vocal Group of the Year and the other four bands just filled out Alabama's dance card. I remember Rodney Crowell winning Album of the Year in 1988 for "Diamonds and Dirt", and thinking, I guess the CMA members do have taste after all.

But that's all for another day.

I will say this, however:  Randy Travis.

Stay tuned....


Saturday, July 25, 2015

NItty Gritty!


I like to write about things that pop (POP!) into my brain at any given moment.

I'm not sure why I thought about the Nitty Gritty Dirt Band tonight, but maybe I was in a reminiscent mood.

When I slid back into country music in the late nineteen eighties, there were a few acts that resonated with me. One of them was the Sweethearts of the Rodeo, a duo that is long gone, except maybe for reunion shows (I honestly have no idea). One was Dwight Yoakam, who grabbed hold of my heart and has never let go. My parents were into George Strait, who I considered a "pretty boy" out of sheer obstinance (I think I was in the second coming of my rebellious stage). An upstart! I snickered. Good lord, I was a moron.

Another was the Nitty Gritty Dirt Band.

Oh sure, I'd heard of them. They'd done that awful song about some dude who jumped around and thumped a tambourine against his shin:


Honestly, I never grasped the appeal of that song. It seemed uncomfortable to me - a throwback to the days of Jim Crow. Jerry Jeff Walker wrote that song, and he's written some pretty tasty ones - just not this one. But I understand he's huge in Texas.

My next cognizance of NGDB was notable for the Linda Ronstadt solo in this song (written, by the way, by Rodney Crowell). Interestingly, we hear Linda in this video, but she's apparently not actually there:


And they did that "Circle" album, featuring a bunch of old-time artists that, honestly, I could take or leave. I wasn't in an appreciative frame of mind then. I kinda am now.

NGDT didn't, however, hit their stride until the eighties, when things took off rather rapidly. That's where I came in.

I started to hear songs like this:


I will point out, however, that this song is impossible to dance to. Try it.

And this one (I apologize for the pitifully poor quality of this video):


Don't forget this Bruce Springsteen anthem:


Naturally, my favorite NGDB song doesn't have an actual video. Here it is anyway:


The Nitty Gritty Dirt Band was a band-savant looking for their niche. They found it in the nineteen eighties.

But one more reason why I love eighties country music.



Sunday, May 26, 2013

Album Review ~ Old Yellow Moon ~ Emmylou Harris and Rodney Crowell


For those who read my blog regularly, you know that I don't buy music anymore.  That is partially my fault and partially the music business's fault.

I will take the blame for being stuck in the past, but in my defense, if good music was being made, do you think I wouldn't buy it?

To me, an artist has to prove themselves.  I didn't buy Billy Ray Cyrus's album in 1992, and history has proven me correct.  BR was a one-hit wonder.  I'm not going to squander my hard-fought dollars on a flash in the pan.

Emmylou and Rodney, though, I know.  I've known them since the early nineteen seventies.  Okay, I didn't know that Rodney was "Rodney".  I just knew he was "that guy who sang backup for Emmylou", and he apparently (my liner notes told me) wrote a bunch of the songs she was singing.

Elite Hotel was a wondrous thing.  A country music album for music lovers who had been left in the dust by leisure-suited hipsters who were entranced by the likes of Dave and Sugar.


Rodney stepped out on his own a bit later; a decade or so later, actually. 

Apparently, Rodney liked to do things in a big way, because his 1988 Diamonds and Dirt produced five consecutive number one singles; and is, to me, one of the best country albums of all time.


So, when these two decided to get back together, lo these many, many years later, I was intrigued.

Old Yellow Moon was a birthday gift. 

Emmylou has white hair now; and Rodney probably does, too; under that hat.  But it bears repeating:  chronological age does not render one useless and hapless.   True talent triumphs.

So, I listened to the album tonight.

Is it sacrilegious to say that my favorite tracks were not written by Rodney Crowell?

My absolute favorite track is a song that I loved back when Waylon recorded it; and what could be better than hearing two of my favorite artists singing it?



I was surprised to learn that Allen Reynolds had written "Dreaming My Dreams".  What I remember about Allen Reynolds is that he wrote a bunch of pop-tart songs for Crystal Gayle; but I guess I sold him way short.  Dreaming My Dreams is a gorgeous song.  I'm just glad that Crystal Gayle didn't make a hit of it.

You may or may not know that Vince Gill was also one of Emmylou's backup singers; way back when.  Here he is, introducing Emmylou and Rodney; in an admittedly poor quality video; singing another of my ultimate favorite country songs, "Invitation to the Blues"; which was written by Roger Miller:


Oh, but it's not just old songs.  Nay.  This album contains many good tracks, including "Spanish Dancer", "Back When We Were Beautiful" (written by the great Matraca Berg); "Here We Are"; actually written by Rodney!  And the title track, "Old Yellow Moon":


 I give this album a solid B+.

But you know me; I'm a sucker for the old (or new) tried and true.






Saturday, March 23, 2013

I Want My CMT






Well, here's the deal:  I was completely enamored of MTV in the 1980's.  Sure, one wouldn't call the music "rock"; more like rock-pop or something; but it was GOOD.

The one and only reason I switched back to country music was because I happened to flip my radio dial one day, while waiting in my car for my kids to be dismissed from school; and I heard a song by somebody named "George Strait".  I said to myself, well, that sounds good!  Maybe I've been missing out on something, lo these five or six years that I've been away from country music.  (Isn't it just like music to flip on you when you least expect it?  And suddenly become good, when you turned away from it because it was so putrid?)

After hearing a song by this "George Strait" guy, I chanced to give country music another go.  I honestly had never heard of any of these artists that were suddenly wafting out of my speakers.

The first cassette tape (remember those?) I purchased was by somebody who called themselves the Sweethearts of the Rodeo.



I carried my boom box around while pseudo-cleaning my house, and I played that tape endlessly.  Why I had glommed on to this particular group, I don't know.  I know that I was reticent to embrace George Strait, because my mom and dad thought he was so good, and I wasn't about to bow to Mom and Dad's whims.  While I was visiting them one evening, they popped in a VHS tape of a George Strait live concert, and I watched it half-hardheartedly between snippets of conversation, and I still didn't get it.  Or chose NOT to get it.  I came late to the George Strait party, but when I finally climbed aboard, I turned into a giggly adolescent girl; devouring anything and everything that had the Strait name attached.

Meanwhile, though, there was this other guy, who had sort of a nasally sound, but, boy!  Those guitars sure rang!  This was like Buck Owens and the Buckaroos on steroids.



FULL DISCLOSURE:  Even better than George Strait!

This was a weird time in music for me.  Number one, aside from SOTR (or, Sweethearts of the Rodeo), everybody I liked was male.  I'd come of age during the time of Loretta Lynn and Tammy Wynette and Lynn Anderson; but no girl singers (except for one) were even a blip on my country music radar.  What had happened since I'd been away? 

But when the girls were good, they were good:



I sat behind my steering wheel, parked in front of my kids' elementary school, when this song accosted me from my radio speaker.  The first time I heard it, I believe I actually swooned.  I simply wanted to hear it again...and again; but I had to wait for the damn album (or by this time, CD) to be released before I could listen to it as many times as I needed (George never made a music video for this song ~ huge mistake):



(Admittedly, that song wasn't from the eighties, but I just wanted to include it.)

This song, too, had no official music video, but wow ~ what a great song!



Speaking of George (again), and speaking of swooning, well, here I went again:



And, again, there was Dwight:



But it wasn't all George and Dwight.  It was Clint:



It was Randy:



And did I forget some girl singers?  Apparently!



Some guy I'd never heard of before recorded an album of songs that took the 1989 CMA award for album of the year, and I knelt in front of my TV that night; cheering him on:



Sitting at a table at the Dakota Lounge one Saturday night, this new guy managed to strangle my heart strings with this:



Another really great song to two-step to was this, by Steve Earle:



"Got a two-pack habit and a motel tan" ~ I so admire great lyric writers.  FOUR STARS on this song!

Country music in the eighties wasn't all George and Dwight and Randy and Clint; however.  I want to also feature some of my favorite eighties country by some artists that might not readily spring to mind when we think about that decade:

Foster and Lloyd:



Rosanne Cash:



Singing background vocals on Roseanne's song segues us into Vince Gill:



Singing background vocals on Vince's song leads us to Patty Loveless:



Singing background on nobody's here-to-fore mentioned songs, and unfortunately a video with poor sound quality (but I wanted to include it, just because), here is Steve Wariner:



(For unknown reasons, in the days when I went out dancing on a Saturday night, whenever the band played the part in "Lynda" that went, "I woke up screaming this morning", all the patrons were apparently obliged to scream.  Naturally, I abstained.)

Speaking of live music and dancing, this next song is essentially impossible to dance to.  I'm thinking it's because the tempo changes between the intro and the rest of the song; and then back again.  If you want to look really foolish out on the dance floor, try dancing to the Nitty Gritty Dirt Band and this:



Like Patty Loveless, Kathy Mattea has a great voice, and I love this song:



Please don't forget Restless Heart (another song I love):



I have no doubt forgotten to include some artists.  After all, it was more than 20 years ago (really?)

You can shoot me now, but I just never was a big Garth Brooks fan.  I certainly didn't hate him; I was simply ambivalent.  That is why I have not included any Garth Brooks videos.  Feel free to hum, "If Tomorrow Never Comes". 

I do believe I have made my point, however.  The 1980's were the prime time for country music; and alas, it will never be the same again.  I don't begrudge anyone their taste in music.  I like a ton of stuff that would cause people to scratch their heads.  That's why we're called "individuals".  For me, however, I choose not to listen to "today's country".  But who knows?  If a Randy or an Alan or a Rodney comes around again, and shakes things up, chances are I would be right back listening to radio again.  Luckily, in the absence of that, I have music videos.