Upon Merle's passing, I read virtually every writerly tribute -- I guess to find out if anyone "got it" -- got the importance of Merle to people like me, and, frankly, to see how wrong they got it. I'm cutting these guys some slack. They're probably tasked with summarizing the careers of disparate artists, from Paul Kantner to Prince, and who could know them all? Besides, those articles are written for the casual pop culture observant; the people who've maybe "heard of this guy", but don't really know what he's all about.
The thing is, though, don't go throwing around the "ten best" recordings of somebody unless you know what you're talking about, because that's a heavy burden.
I've already nailed down most of the best of Merle in my previous posts. But I'm no ideologue. I can be wrong. I can be shortsighted. After all, I grew up on Merle -- that's a completely different mindset from the guy who writes obituaries for the New York Times. So, I'm willing to bend, and I don't have to bend very far. The songs featured here are good; damn good, but you see, Merle was all about the good. It's a matter of whittling down a fifty-plus year career, and that's nigh impossible.
So, I'll stop prattling and just get to the music.
If We Make It Through December:
Tulare Dust:
Carolyn (with Glen Campbell, like it was meant to be done):
Everybody's Had The Blues* (live, like I remember it):
*a personal favorite
If We're Not Back In Love By Monday:
Footlights (a perennial on the "best of" lists, but probably one of, sadly, my least favorite Merle songs):
I remember saying to my mom, when this song came on the radio, how much I loved it, and she said, "Really? I don't see what's so great about it." I was right, Mom. Sorry.
Misery and Gin:
Merle and Marty Stuart ~ Farmer's Blues:
I wondered where Merle had gone, and then, suddenly, there he was, with Willie:
Honestly, I could go on for miles. There are deep album cuts, cover songs (especially those of Lefty Frizzell), Stranger jams, nuggets that've currently escaped my mind. I've tucked them all safely away inside the creases of my memory even if I haven't included them here, in these four (?) Merle Haggard posts.
I'm still mourning his loss. I guess I always will. I had the chance to see Merle in concert a few times in recent years, but I refused. I stubbornly wanted to remember him on my terms. That was probably dunder-headed. Because now it's too late.
So, I'm going to let Merle end this with a paean to the life both of us longed for. Maybe I'll reach it someday. I know Merle has.
I guess, thank you. Thank you, Merle, for my musical life. And actually for saving my life. I don't know what my young existence would have been if fate hadn't hammered me. I do know I was miserable. Until I found you. That's a heavy burden, but I think you can handle it.
And when you play Misery and Gin for my mom, she might just change her opinion.
On March 6, the 2012 inductees into the Country Music Hall of Fame were announced.
I'm always interested in the inductee announcement, because, let's face it, these guys/gals are closer to my generation than someone named Dierks or Luke or Carrie or the gender-neutral name, Taylor.
And thus, they are naturally better. But that goes without saying, although I just said it.
Every year, there are good surprises and "eh" surprises, I guess. The only problem I have with the annual choices, in actuality, is that so many deserving artists are passed over (Bobby Bare).
But I can't quibble with the 2012 inductees. I can quibble about the timing, in one case, but that's all.
So, let's begin.
GARTH BROOKS
The class of 1989 was comprised of a bunch of valedictorians. People whose names now roll off the tongue were "these new guys that are pretty good", back then.
There was Clint Black; there was Alan Jackson; there was Travis Tritt. There was also Lorrie Morgan, Mary Chapin Carpenter, and Lionel Cartwright.
I was a rabid fan of country music back then (unlike now), and I two-stepped in the honky tonks, too. I know what was being played the most, not only on the radio, but in the clubs. It wasn't actually Garth Brooks. It was Clint Black, Dwight Yoakam, George Strait, Highway 101, Rodney Crowell, and the Judds.
Garth was sort of an afterthought in 1989. He had some tune about being much too young to feel so damn old. That song was basically what any fan knew him by, if they knew him at all.
On the other hand, one could not escape "Better Man", even if they'd wanted to, which they didn't. It was a good song, as was "Killin' Time". There was, of course, "If Tomorrow Never Comes", but you couldn't really dance to it. It was one of those, "let's admire it" songs, but not a "fun" song. As was, "The Dance".
It wasn't really until 1990, when that ubiquitous ditty, "Friends In Low Places" began playing non-stop on one's car radio; so much so that, even if you finally had had enough, and you flipped the radio button to the "off" position, the damn song just kept playing.
I distinctly remember driving somewhere in my little town, and hearing that song for the five millionth time, and thinking, oh my God, I just can't take it anymore!
So, Garth, of course, hit us with both barrels, as they say. He started out bland, and then became vociferous, and then finally just overwhelmed us with his "Garth-ness". Face it, the albums weren't very good. I bought them. At least the first three. Aside from the radio singles, the songs were throwaways. Although to watch Garth in a TV interview, or read a magazine article, one would think these songs were chosen with the UTMOST care; they were the CREAM OF THE CROP, and if we (the fans) didn't "get" them, then there was something wrong with US.
Garth also overwhelmed us with his narcissism. I wonder if he realizes that now, and possibly regrets it. I wonder if maybe he decided to retire because he instinctively knew that we (the fans) just couldn't TAKE any more of his ego. And meanwhile, good ol' Alan Jackson just kept steadily rolling along, doing his country songs; ones that weren't written by Billy Joel, but rather were written by Alan Jackson.
But, all ego aside, one cannot deny that Garth Brooks was THE biggest thing to hit country music in...well, a long time....at least until Shania Twain came along. So, that's why the Country Music Hall of Fame has now inducted him. Gotta give the guy his ($$) due.
The other thing that I have found out, the hard way, is that it's really difficult to find Garth Brooks videos on the web. Why that is, I can only speculate. My deduction is that Garth does not WANT to make his videos available. I don't know why. I honestly don't know why any artist would not want to make his videos available. I thought artists were all about the publicity.
But I did manage to find a couple, from the 1989-ish era. Here is one:
I obviously would include more videos, if there were any.
HARGUS "PIG" ROBBINS
Anybody who ever bought a country album, and who ever read the liner notes, knows the name Hargus "Pig" Robbins. Hargus "Pig" Robbins' name was listed on practically every country album, ever.
The greatest piano session player that Nashville ever saw.That was Pig.
The first hit song that Pig played on was this one, in 1959:
Here are some of the other artists Pig has recorded with: Patsy Cline, Loretta Lynn, Dolly Parton, Connie Smith, Tanya Tucker, Crystal Gayle, Ernest Tubb, Waylon Jennings, Willie Nelson, Bobby Bare, the Statler Brothers, Gary Stewart, Kenny Rogers, Conway Twitty, Lynn Anderson (Rose Garden), Merle Haggard, Bob Dylan (on his 1966 classic Blonde on Blonde album), Joan Baez, Peter, Paul & Mary, John Denver, Doug Sahm, the Everly Brothers, Ray Charles, Tom Jones, etc., etc. Obviously, I'm leaving out a bunch.
Let me tell you, it is IMPOSSIBLE to find any performance videos of Pig Robbins. I tried, and I tried, and I tried for about half an hour, before finally giving in.
You're just going to have to take my word for it. Or read your album liner notes. He was there on all of them.
This is an award that is much deserved, and much too late.
CONNIE SMITH
Dolly Parton said: "There's really only three real female singers in the world. Straisand, Ronstadt, and Connie Smith. The rest of us are only pretending."
It's a truism about female country fans: they (we) prefer male voices. That's just the way it is.
The true female country fan does not enjoy the thin and reedy. We like our female singers to sound full-bodied. Soulful.
Patsy Cline, Tammy Wynette, Patty Loveless, Loretta Lynn. If you're going to sing, then sing! Belt it out like you mean it!
I don't go for the whispery, breathless sound. If I wanted to hear that, I could just record my own weak vocalizations, and listen back.
In the timeline of country music, after Patsy, and before Tammy, we had somebody who filled the void. Her name was Connie Smith.
Connie began her career recording songs written by Bill Anderson. Bill basically discovered Connie, and nurtured her career. And what a run they had!
This is, I suppose, her biggest, written by Bill:
Connie and Bill had a bunch more, though.
Introduced by Bill:
From the Marty Stuart Show:
Doing a Gordon Lightfoot song:
One written by Bill Mack:
I just like this (with Merle and Johnny Gimble on fiddle):
An Everly Brothers song:
This song was written by Don Gibson, and it holds a special place in my heart. Alice and I sang along to the radio to this song:
Really, I could go on and on, and on.
There are, thankfully, endless videos of Connie Smith performances.
I remember the black RCA label. I remember the album, "The Best of Connie Smith". I remember the album, "Clingin' To A Savin' Hand".
I remember the joy I felt, just listening to that voice. I remember belting them out myself, when no one was around. I really was an excellent country singer, in my mind, when I was singing along to Connie Smith records.
The female country singers of my formative years were Tammy, Lynn Anderson, and especially Connie Smith.
If I sing like anyone, or let's say, try to sing like anyone, it's Connie. She's the role model.Unconsciously, she's the one I emulate.
Tammy's already there, in the hall of fame; Lynn will never be there. But now Connie is there.
Pig Robbins is a class act. Garth is a big dollar sign. Connie Smith is my influence.
I wonder how many people in this world consider themselves to be songwriters.
I'm thinking there's a lot.
I've so far featured three singer-songwriters. Three damn good ones. (Not to confuse you. You've only read about two, but trust me, I've written about three. It's just all out of order, because, well, that's how I roll, apparently).
How many damn good ones are there? I'll say you can count them on the fingers of two hands. Okay, maybe three. But how many people actually have three hands?
I don't think songwriting is like a puzzle. It's not as if you can work on it long enough and hard enough to crack it.
You either have it or you don't.
Yes, I've used that phrase every time I've posted one of my "episodes". That's because it's true.
I've called myself a songwriter for about nine years or so. And I'm thinking, nuts to that. I'm not going to crack the code.
Unlike Radney Foster, I haven't written 25-50 songs per year. I frankly don't have the subject matter. Some years, in fact, I probably wrote two. If it wasn't for FAWM, I would be sitting at about number 13 at this point.
Oh, it's not for lack of desire.
It's for lack of ability.
I'm not trying to discourage anyone. But I will say, write for yourself.
If you like it, that's really the only point there is. I still really like some of mine; not most of them, but some. I guess you had to be there (ha); you know, in my subconscious, to really "get them'. That's, I guess, the problem.
I don't even know what it is about us that makes us want to do this. It's not for commerce. Because that would be the most doomed business enterprise ever created.
Can you imagine a storefront advertising songs for sale? Nobody would stop in. Or, if they did stop in, they'd say, oh, that's okay; I'm just browsing. And then they'd surreptitiously make their way over to the door, and slither out.
There you'd be, following them around, wearing your nice white apron, asking, "Is there something I can help you with?" And they'd murmur, "I was just looking for something bright and shiny; you know, something I can dance to".
"Well, I've got this song about love and loss", you'd say. "Oh, that's okay. I was kind of looking for something different. A little variety. I'm not really in the mood for love and loss today. I've already got a bunch of that at home."
"Well, let me just play you this one. You'll like it, I think."
Then strum, strum, strum. Your three-minute intro.
And you look up, and they're gone. Out the door.
You mutter to yourself, I don't know what people want. Maybe I should have stayed in customer service. Maybe starting my own songwriting business wasn't such a great idea. I guess people just don't understand greatness.
At this point in my songwriting career (okay, I can call it a career if I want), I look at the songs I've written sort of like a diary. I think maybe only one or two of them are completely fictional.
I read something that another songwriter wrote on one of those songwriter sites, and I'm paraphrasing, because I'm really too lazy to go back and re-read it, but he said that every song he wrote had some personal truth in it, even if he had to go back afterwards and cover up all the tell-tale signs. I kind of like that.
Songwriters (at least the un-schlocky ones) are really telling their life stories.
The problem with that, commercially, is that most people don't care about other people's life stories. Not really. Even if you know somebody really well, you are sort of interested, but not as interested as you are in your own life.
So, it's the rare (again, count 'em on three hands, if you have them) songwriter who can transcend that complete and utter disinterest, and invoke some kind of recognition in the listener's mind.
Either that, or the songs need to have a catchy beat.
I can go either way on that.
I'm being semi-facetious, but not really. For what is music, really, if not entertainment? What's wrong with a nonsense song that's infectious? I've got some of those guilty pleasures in my music collection, and I really like them.
That same songwriter that I referenced earlier (I think I'll call him "Jed") likes to talk about hearing music that touches his soul, or something like that. And I like that sometimes.
But sometimes, I've had a really crappy day, or a crappy week. My husband has lost his job (like a quarter of the population, apparently), and I'm worried about stuff like paying our bills, and insurance, and how we will survive when we're old; that kind of fun stuff. And I don't really want to hear some singer crying about...well, anything. I don't need to listen to some sad song to make me feel sad. I'm already sad. I just want to forget my troubles for one measly hour of my life and hear something fun and mindless.
And, come to think of it, the few songs of mine that people say they actually like are those kinds of songs. Entertainment. No offense to Jed, but I don't think the majority of people want to wallow.
So, what is the point of this post?
Well, it's two-fold. Listening to great songwriters (and so far, there have been three, but there are many more to come), I realize that this just isn't the gig for me.
I'm at a crossroads, and the road I'm traveling on right now is leading me toward just writing, but not songwriting.
Maybe I'll change my mind later (probably), when I'm in a better frame of mind. But I'm thinking, why keep beating my head against the wall? It's giving me a real headache, and I've got enough headaches already.
The other point is, let's have fun!
I'm going to search my music collection for "fun" songs, and post a few here and now. The week has been long and difficult (for you, too?), so it's time to kick back.
(Thank you, Dwight. I can always count on Dwight).
(Thank you, George. I used to always be able to count on George).
(Thanks, Marty. You're a rock.)
I know I posted this one before, but I don't care! If you don't like this one, well, I guess you just don't like country, and you just don't care, and you just don't really know what real country music is. Pity.
(My four go-to guys: Dwight, George, Marty, and Mark. George, you're moving further down my list, but you still have time to rise to the challenge. I haven't given up on you yet; at least not completely).
We're not done.
And while we're having fun, and throwing caution to the wind, let's not forget this one:
Tomorrow (or sometime) I will post the sad songs. But not tonight.
Don't forget, songwriters, that music is entertainment. We all just want to feel better; forget our troubles. So, while you're pouring out your guts, and lamenting your life circumstance, everybody else doesn't want to think about that.
My husband is a CD collector. He has about three record stores he visits on a regular basis, looking for used CD's.
Today, I went with him, just to go with him, basically. I didn't even look at the CD's in the racks. I looked at some posters and some curios that the store had for sale. I glanced at the music biographies on the shelf (although I no longer buy physical books. I am on a mission to clear my life of clutter).
That's part of the reason I'm not interested in browsing the CD's for sale. I really don't want to buy any more physical CD's. My shelves are overflowing with CD's, when, in fact, all the music I want, I've already uploaded to my computer.
I make an exception for approximately four artists: Dwight Yoakam, George Strait, Mark Chesnutt, and Marty Stuart. Why? Well, with George, it's a matter of honor, really. I have every one of his CD's, and I don't want to break the chain. For Marty and Mark, the truth is, they don't sell music like they used to, sadly. I don't know why. Time marches on? Nobody wants good music anymore? Real country music is passe? Therefore, I buy their physical CD's to show that I, at least, still appreciate them.
With Dwight it's just that......well, it's DWIGHT. He possesses a couple of attributes that I subscribe to: GOOD MUSIC, HONEST MUSIC....Oh, and he never disappoints. I never have to weigh the options in the store (and by "store", I mean Amazon.) I never have to turn the CD over in my hand, checking out the names of the tracks, looking for the songwriters credits (most of which will be "Dwight Yoakam" anyway). "Hmmm, will this be worth my money? What if I don't like it? What if I only like two songs?" Those questions never factor in. I WILL like it.
My problem is, after those four artists (and to be frank, George Strait has been falling down on the job for a few years now), where do I go? Some artists are "good", but they can't seem to pick good songs. As for newer artists, well, I really just don't like the sound. I don't mean the singer, I don't mean the songs (okay, I guess I do mean the songs), but what I'm talking about is the sound of the recordings. That manufactured sound that comes out of Nashville these days.
To be frank (and this is not meant to be self-centered at all), I'd prefer to listen to Red River's music (except my own) than this artificially sweetened stuff that's playing on the radio, because at least I know that Red River's stuff is honest.
So, what I am really looking for is a new kind of music.
I've thought about it, and these are my requirements:
1. Melodic!
You know, they call it "music" for a reason. If it wasn't for music, it would just be dull poetry. Music should make your heart fly, or make your soul mourn. I grew up hearing the barbs about "maudlin country music". The crying steel guitar, and all that. Well, yea, I like a crying steel guitar! And twin fiddles? They get you right in the gut. That's why I just can't relate to the modern music listener. What are they getting out of this stuff? Seriously, I would truly like to know. I find nothing melodic about modern music. Do they just not really like music? Is it just some background noise to keep them from thinking about other things? I don't know, and I never will. I'll just chalk it up to a mystery that I can't solve.
2. Honesty.
But not that self-pitying crap. I hate that stuff. There's nothing worse than a whiny crybaby. It's not all about you, you know. There's a fine line between coming off as a spoiled brat and singing about something universal. How about singing about life, and the trials and tribulations that we all go through? You know, something relatable. I used to hear, "he's singing my song". I don't really hear that anymore.
3. Interesting, surprising instrumentation.
No more paint-by-numbers arrangements. Throw in something unexpected. A cello there? Wow, never expected that, but it works! Listen to that guitar riff! So original! Everything, to me, now sounds dirge-like; even the up-tempo numbers. So boringly predictable.
4. Hit me with something I'm not expecting.
Way back, sometime in the nineties, my kids used to tease me every time I would turn this song up on the radio, or punch it in on the CD player. And I'll admit, I enjoyed driving them crazy with this song. Because they hated it. But you know, I really liked it. And the reason I liked it was because of the opening chorus:
Who ever sang a line like that? Nobody. I wasn't expecting it, and therefore, I liked it. It made my senses perk up and say, "Hey! What the heck? This is cool."
So, to sum up, what I'm looking for is an honest, melodic, surprising song.
Is that too much to ask? After all, I can't just listen to Ashokan Farewell exclusively.
Have you watched any so-called "country" videos lately? Well, they're hideous. Don't even get me started.
Okay, I'll start a little.
One weekend afternoon, I couldn't find anything on TV, so I thought I'd check out the latest happenings in country music. (I don't listen to it on the radio, so I'm completely clueless.)
Well, let me tell you; it's hideous. One can only take so much of it, I found. I listened (sorry, watched) about four videos, hoping there would be some semblance left somewhere of actual country music. Alas.
What I found is, there are a bunch of very young guys, with names like Wade or Chad or Lance or whatever; and they're all horribly henpecked, apparently.
Some poor guy (Wade or Chad or...wait...let me look it up....Walker Hayes! Hey, I wasn't far off the mark!) was singing about how his girl can "wear the pants" in the relationship. In the video, we see her apparently scolding him for something, or everything. He ends up in a park singing his pitiful song, and she drives up to pick him up, and nags him about whether he made any money today.
Really? Is this his mommy or his girlfriend? But he seems perfectly happy with the arrangement (poor little sissy), so who am I to judge?
Another video, by some boy/girl group (or should I say girl/boy?) was a poorly-made ripoff of Grease. I don't know what it was about, frankly, but they were in a bowling alley, and each had their "posse" with them. I don't know; I'm so confused.
Then I saw something where Reba McEntire (Eek! Plastic surgery gone awry!) was a Dear Abby-type character, and the fighting couple ended up at her house for...tea or something. I turned the sound off at some point.
Thus ended my experiment.
I am so out of touch. Have I been asleep for the past twenty years?
When I last left country music; scratch that; when I last ENJOYED country music, it was great. I've loved country music my whole life. I don't recognize THIS STUFF. What the hell is it? Seriously. Can people actually perform these songs with any modicum of self-respect?
I'm not saying you have to be in love with Hank Williams or Ray Price or, you know, Webb Pierce or Hank Snow or Kitty Wells. Heck, even I don't like all those people.
I'm not talking 60 years ago; I'm talking about music in the not-that-distant past.
Frankly, I could throw any Dwight Yoakam video on here, and be done. But I don't want to short-change others.
Can't find any recent Marty Stuart videos, but trust me, he's doing GREAT work. It's just that his label didn't support him, so he can't make videos nowadays. Bastards. But I still like this one:
Hey, how about this?
Not to leave the ladies out. When Paulette Carlson was still with Highway 101, they were great. Here's one to prove that:
What can one say about Mark Chesnutt? He's cool, ultimately cool. What a voice. Too damn bad the record labels don't get that.
Pick any song by George Strait. Yea, pick any one.
I could go on and on. But I won't. If you wanna know what country music used to be, well, here you go.
Now it's all about gym lockers and men wearing aprons.
But have at it, kids. If that's what you like. I still have all my CD's, so I'm good. And yea, I do have ALL these CD's.
Hey, I'd still be buying music if y'all hadn't ruined it. But y'all do whatever your business model calls for.
Marty Stuart is best when left to his own devices. Since the "no hat" days of the early nineties, Marty has taken control of his records, subsequently producing the masterpiece, "The Pilgrim", as well as classics, including "Country Music" and "Badlands".
I suspect even those who aren't fans of true (or traditional) country music can still appreciate that Marty is the "curator" of the legacy.
This album is no exception.
From the opening track, "Branded", with its sly homage to Merle Haggard, including Roy Nichols-like guitar licks, to a remake of the 1965 Warner Mack hit, "The Bridge Washed Out", to a lovely duet with wife (and legend) Connie Smith, "I Run To You", the 1960's country music sound is alive and well, just a bit more bright and shiny.
Standout tracks on this album, in addition to the aforementioned, include, "A World Without You" (my favorite). This track, folks, cannot be mistaken for anything BUT country music in its truest form. Also here is an instrumental version of Ralph Mooney's "Crazy Arms", featuring Ralph himself on steel. "Hummingbyrd", too, is a nice, ringing instrumental. Marty and Ralph collaborated on "Little Heartbreaker", a bouncy ditty that features some Wynn Stewart-like steel guitar licks.
Not everything works, but the minor nits I have with this CD do nothing to detract from this superior effort by Marty.
Be forewarned: If your idea of country music is dirty dishwater that's lost most of its foam, you probably won't like Ghost Train (The Studio B Sessions)
If, on the other hand, you love music, and are able to discern between country music junkies and country music junk, you really can't go wrong surfing on over to Amazon and clicking the "buy" button.
I find ideas in the strangest places. I went to Amazon, with the sole purpose of leaving a book review, and then I thought, oh, why bother? I thought, what if the author reads it, and her feelings are hurt? What's the point?
Anyway, the page I was on had some discussions about country music, and you know how I like a good country music discussion. One of the questions was:
"What are the first 10 CD's that are a 'must own' for anyone just starting a country music collection?"
The author went on to say that some of the artists he likes are Merle Haggard, Hank Williams, and Waylon Jennings (a pertinent point to include, since country music to me could mean something completely different to someone else).
So, I started thinking about my favorite country music albums.
The problem with country albums, as opposed to rock, is that back in the day, albums were basically a means of promoting the hit single, and the rest of the tracks were afterthoughts (a lot of filler; usually a bunch of cover songs). Sadly.
So, overall, a new country listener would be well advised to go for the "greatest hits" packages.
As time went on, and country was dragged kicking and screaming into the 20th century, some of that began to change, happily.
Thence (thence?) I started to browse through my music collection, and surprisingly, I realized that ten albums is very limiting.
I've got way more than ten that fit the parameters of the author's question. But I'll stop with ten this time, and maybe do a Part Two later.
So, in no particular order, because I'm really too lazy to try to rank them, here's Part One:
Recorded live, back in the sixties, this album has the joy and the excitement that only a live recording can convey.
You'll hear the best versions of some of Buck's greatest hits, particularly because Don Rich is singing harmony, whereas, in the studio recordings, Buck tended to sing harmony with himself much of the time, and Don Rich adds a real vibrancy to the songs.
You'll get little snippets (medleys) of some of Buck's perhaps lesser-known songs, which will make you want to get the original recordings, just to hear these songs in their entirety. Songs such as, "Don't Let Her Know" and "Excuse Me (I Think I've Got a Heartache)".
Plus, you'll hear a kick-ass version of "Buckaroo".
This is the album that introduced us to the voice that is Gene Watson.
While it doesn't include "Farewell Party" (download this as an mp3), this is an album I listened to over and over when it was released in 1975.
I thought, hey, this new guy has quite a voice! And "Love In The Hot Afternoon" is (now) a classic country song. Back then, it was just....new and great.
A couple of my other favorite tracks from this album are, "For The First Time", "This Is My Year For Mexico", and "Where Love Begins".
Released in 2003, this, to me, is Marty's greatest album. Many prefer "The Pilgrim", but for those who remember real country (see Buck Owens, above), this album is hard to beat.
Marty is a real country music historian, and songs such as, "Sundown In Nashville" remind us of songs we may never have heard, or like me, just plain forgot about.
Stellar tracks include, "Fool For Love", "Here I Am", the silly/endearing "By George", and, of course, "Farmer's Blues", with Merle Haggard. Not to mention, "A Satisfied Mind".
Trust me on this one. You won't go wrong buying this CD. And that mandolin will kill you.
This album got robbed of the CMA Album of the Year award in 1988, but what can I say, except this is a joyous album!
I played it over and over......and over and over.
From the opening track, "Crazy Baby", to the modern country classic, "I Couldn't Leave You If I Tried", to Wynn Stewart's "Above and Beyond", to the goofy "She's Crazy For Leavin'", to "It's Such a Small World", with Rosanne Cash, it's essentially good song, good song, good song. No filler here!
Another album from 1975. 1975 must have been a pretty good year!
This was my first consciousness of Emmylou Harris. And she was in rare form here. From "'Til I Gain Control Again", written by bandmate Rodney Crowell (see above), to the classics, "Together Again" and "Sweet Dreams", to the jaunty opening track, "Amarillo", to the last track, "Wheels", written by Emmy's mentor Gram Parsons, along with Chris Hillman, this is a classic from start to finish.
This album established Emmylou as the standard bearer of true country music, so it's a no-brainer, really.
A 2004 release that said, hey country music, remember me? Remember country music? In case you forgot, this is what country music sounds like.
Oh, just some steel guitar, some fiddles. Some two-steppin' music. Somebody who's been sadly overlooked, but who, in years to come, will be regarded as somebody who "saved" country music for those who needed savin'.
From the opening track, "Somebody Save The Honky Tonk", to Kevin Fowler's "The Lord Loves The Drinkin' Man" (Kevin did a great recording of his song, but it took Mark to get it to mainstream radio).
Let me just say, "The Lord Loves The Drinkin' Man" is the quintessential country song. I think I heard it a grand total of ONE time on terrestrial radio, in between tracks by Tim McGruff, the crime dog, and Faith Hope Charity, his crime-fighting sidekick.
Lucky for me that I caught this song the ONE TIME it was played, or I never would have found this delicious album.
Easy Come, Easy Go - George Strait
Let me just say, I own ALL of George Strait's albums, so it was hard to pick a favorite. But this release from 1993 has all the elements I look for in a good COUNTRY release.
Number one, it's got not one, but two, songs written by the genius, Jim Lauderdale ~ "Stay Out Of My Arms" and "I Wasn't Fooling Around".
Plus, it's got the old Wayne Kemp (originally recorded by Faron Young) song, "That's Where My Baby Feels At Home".
And, for good measure, it's got a rousing rendition of the George Jones chestnut, "Love Bug".
I like this one because it's one of the most "country" of the country albums that George ever released.
I give it a 95. It's got a good beat; I can dance to it (for you American Bandstand fans).
If, for some unknown reason, you are not familiar with Highway 101, then it's time to GET familiar with them!
Where do I begin? With "Somewhere Tonight", written by Rodney Crowell (see above)? With "Whiskey, If You Were A Woman"? With "Cry Cry Cry"? With "Honky Tonk Heart"?
Roll the dice. You can't come up a loser with any of these choices.
Paulette Carlson is the "Stevie Nicks" of country music, with the added benefit that she's COUNTRY. I'll always be a Paulette Carlson fan. Throw in Cactus Moser, Curtis Stone, and Blackjack Daniels, and you've got a combination that can't be equaled in today's market ~ and I'll match Paulette up against Jennifer Nettles any day.
Yes, they did Springsteen's"Cadillac Ranch". But they also did "I've Been Lookin'" by the Dirt's own Jeff Hanna, and "Workin' Man (Nowhere To Go)", and another Hanna song, "Down That Road Tonight". Not to mention, of course, the ubiquitous "Fishin' In The Dark", a song that, let me just say, is impossible to dance to.
Chockfull of hits and timeless songs, the Dirt round out my Part One list of essential country albums.
For someone like me who likes to bitch about the state of music, I have to admit, 2007 was pretty darn good. You just needed to know how to find the good stuff.
I've read a bunch of critics' lists of the best CD's of 2007, and unfortunately, I haven't had the opportunity to hear them all. The critics could well be right. After all, they did list most of my favorite CD's of the year.
Critics whose opinions I value include Chet Flippo (of course) and Jon Bream, who writes for the Star Tribune. I also like to read Entertainment Weekly's opinions, although their demographic is, admittedly, younger. I also perused the list that No Depression Magazine compiled.
So, here's where we agree:
"Raising Sand" - Alison Krauss & Robert Plant
"Revival" - John Fogerty
"Dwight Sings Buck" - Dwight Yoakam
"Magic" - Bruce Springsteen (the prettiest song of the year, "Girls In Their Summer Clothes")
Some mentioned "The Bluegrass Sessions" by Merle Haggard (produced by Marty Stuart).
At least one list included "In A Perfect World" by Gene Watson.
I would also include The Eagles, "Long Road Out Of Eden" and "Goin' Home - A Tribute To Fats Domino".
I'm sure there must be new artists who are great. I hear there's some British gals who are pretty good.
What I know is, the artists who produced the best music in 2007 (in my opinion) have been around since the 1980's or longer:
Alison Krauss, Robert Plant, John Fogerty, Dwight Yoakam, Bruce Springsteen, Merle Haggard, Gene Watson, The Eagles, Fats Domino.
I don't know what this means. A cynic would say, there are no good new artists on the horizon. I don't believe that. I guess we just don't get a chance to hear the new, good ones.
It makes me happy to know that I'm right, and that someone with a lick of sense sees it my way.
Yea, Merle Haggard's "Bluegrass Sessions" isn't technically "bluegrass". Big deal.
It deserved a Grammy nomination.
Lord knows, we have to take any good music that comes our way nowadays.
And we have to recognize a superior product when we hear it.
Otherwise, all we're left with is Carrie Underwood.
Does that speak well of the music of 2007?
I've decided that I'm going back to the days of AM radio, when you'd hear a bunch of songs, without categories, and you'd decide FOR YOURSELF what the best songs were.
So, my nominees for Grammys for 2007 are:
Merle Haggard - The Bluegrass Sessions Alison Krauss & Robert Plant - Raising Sand John Fogerty - Revival Dwight Yoakam - Dwight Sings Buck Trisha Yearwood - Heaven, Heartache
There ya go - as Steve Carell would say. (He also says, "That's what she said" a lot, but that has no bearing here.)
So, Merle - 1967, 2007 - that's 40 years and still going strong.
Everybody wants to recommend music to everybody else. It’s a primal instinct, I guess.
I’ll grant you, I’m somewhat stuck in the ’80’s, as far as country music is concerned. But that’s not a bad thing. Think about the so-called “country music” that’s being played on the radio now. On second thought, don’t think about it. It’s too horrific to think about.
The ’80’s were a prime time for country. We had people like: George Strait, Alan Jackson, Dwight Yoakam, Randy Travis; people like that whom no one has ever heard of. Let’s see: Who do we have now? Milque-toast Kenny Chesney, Tim McGraw, some other generic interchangeable singers. Sad.
But the tide is getting ready to turn. It’s usually a 20-year cycle. It’s about time for times to change.
In the meantime, while we’re watching the clock and tearing off pages on our calendars, I’ll recommend some GOOD music. Some is new, some isn’t. All are available on amazon.com or wherever you choose to purchase your music.
So, here are six:
The Seeger Sessions - Bruce Springsteen: Any time an artist does something that you wouldn’t expect them to do, that is a revelation. Bruce went into the studio with an all-newly assembled band and recorded traditional folk songs. But don’t be deceived. These songs were recorded with attitude. Driving drumbeats, horns. Listen to “Mary, Don’t You Weep”. You’ll be hooked.
Timeless - Martina McBride: Who knew? I thought she just specialized in overwrought pop-country songs. This woman has GREAT taste in music! She’s redone some classic, and dare I say, “timeless” country songs. And she stayed true to the original recordings! Check out “Rose Garden”. Ah, memories.
Highway 101’s Greatest Hits: Okay, I like my country upfront and not timid. This band didn’t hold back. Paulette Carlson is a Minnesota native! These guys were HUGE in their time, and their songs stand up today. And talk about good taste! They recorded songs written by the likes of Rodney Crowell and Roger Miller. How cool is that? These folks had taste. I recommend “Cry Cry Cry” and “Somewhere Tonight”.
The Essential Foster & Lloyd: “Crazy Over You” is a song that will always make my top 20 of the best country songs of all time. Like Highway 101, these guys put it all out there. Driving guitars. That “hillbilly-rock” sort of thing. Love them.
Speaking of hillbilly rock, the man himself, Marty Stuart: Country Musicis the title of this CD. Oh, what talent. He plays everything - mandolin, guitar; he surrounds himself with the best players any musician could pray for. He has impeccable taste in music. He is one of my musical heroes. You will NOT be disappointed by this CD. Choice cut: “Sundown In Nashville”.
Dwight Yoakam: The MAN. His latest CD, “Blame The Vain“. I want to write songs like Dwight writes. Alas, it’s only something to aspire to, at this point. On this CD, he’s without his former right-hand man and producer, Pete Anderson, but he still made a helluva of an album. I’m partial to “Intentional Heartache”, but it’s very, very tough to pick the best song.
So, as you can see, I’m somewhat passionate about GOOD music. If you hate country music, you’ll hate these recommendations. If you hate folk music, you may not like Bruce Springsteen’s CD - but you should give it a chance anyway. You might well be surprised.
This music is not “synthesized”. If you like that kind of stuff, okay. If you like real music played by real musicians, give these CD’s a shot.
I never know how to end these blogs, so I’ll just say goodnight.
