This week, we’ve been all over the country music map, from the 1980′s style of John Anderson, to some folk-influenced country from Johnny Cash and Eddy Arnold, to the multi-genred sounds of Jimmy Buffett. Today that week long trip winds up with a release from one of country music’s pioneers, Mother Maybelle Carter.
For those not familiar with her, Mother Maybelle was one-third of the original Carter Family, country music’s first star group. During the late 1920′s and 1930′s they released classics such as “Wildwood Flower”, “Keep On The Sunny Side”, and “Can The Circle Be Unbroken”. After the Carter Family broke up, Maybelle would continue working, usually touring and recording with her daughters, Helen, June, and Anita.
The album up for review, today, is a 1966 release, titled “A Living Legend”, which features both vocal and instrumental work from Mother Maybelle, with vocal backing from her daughters.
First up on the album is an answer song. At the time of this album’s release, Dave Dudley was coming off of a top ten hit, “What We’re Fighting For”, a song from a soldier’s point of view who doesn’t understand why people back home are protesting what he and his fellow soldiers are doing. Here, Mother Maybelle gives us the mother’s answer, “I Told Them What You’re Fighting For”. Not a bad track, for an answer song. Mother Maybelle’s voice is in great shape, here, melding surprisingly well with the then-contemporary arrangement. The track was released as a single, but never charted.
Next, we get the instrumental “Kitty Puss”, featuring Mother Maybelle on the autoharp. It’s a nice piece of instrumental work.
“Charlie Brooks” is a tale of love ending. It’s an old-time ballad that is in the same vein as many of the original Carter Family classics. Again, Mother Maybelle’s vocal strength really comes through, holding up well for 57 years of use; her age at the time of release.
Another instrumental with the autoharp is next, this time the Bob Wills classic “San Antonio Rose”. Good recording and actually a little short. I think it would have been even better had it been stretched out a little.
One thing I notice as I listen to this disc, is how much alike Mother Maybelle and her daughter, June Carter, sound. Close enough one could conceivably mix them up. It is especially apparent on “We All Miss You Joe”, an okay track that’s not particularly special.
“Black Mountain Rag” is a song that’s seemingly been around forever and can be found in the repertoire of many bluegrass performers. Mother Maybelle’s instrumental is one of the best I’ve heard, and again, is almost too short. I actually would like to hear it go a bit longer. “Black Mountain Rag” concluded side 1.
Side 2 opens with “A Letter From Home”. Like most of the album, a mid tempo ballad, that would be considered a story song; this time a sad tale of a cowboy waiting for a letter from home, who is fatally shot. Despite it’s morbidity, it’s not a bad track, perfectly suited for the early country style of Mother Maybelle.
“Tom Cat’s Kitten” is another instrumental that, like the others on the album, is a pleasing, up tempo piece of music that arguably are the highlights of the album, not to take anything away from the vocal tracks. Mother Maybelle played the autoharp as well as anyone.
“Let’s Be Lovers Again” is about quarreling lovers, in which one ultimately dies after a quarrel, leaving the other in deep regret. It’s a theme that is often heard in early country music. It’s a bit too morbid for me, though I’m sure many of her fans loved this track.
“Give Me Your Love And I’ll Give You Mine” is another track that I like. A very simple arrangement consisting only of Mother Maybelle, a guitar, and her daughters singing background. The result is a beautiful, intimate sound.
The album wraps with “A Mother Always Knows”, where a mother is preparing to let go of a son who is heading to the big city, only to return years later, penniless. Lyrically dated, but a theme that was used numerous times in early country music. Average song, at best.
The majority of the tracks, were either written or arranged by Mother Maybelle, with the exception of Bob Wills’ “San Antonio Rose”; Tom T. Hall’s “I Told Them What You’re Fighting For”; “Let’s Be Lovers Again”, written by A. P. Carter; and “We All Miss You Joe”, written by future son-in-law, Johnny Cash.
If you go searching for this album in it’s original form, it will likely take some effort to find. In my online search, I found but a single copy on Ebay, but at a good price, only about $2. However, all of the album’s tracks do appear on a CD that is currently available. Titled “Sara And Maybelle Carter”, it includes all of this album’s tracks, along with the tracks from the album “An Historic Reunion: Sara And Maybelle: The Original Carters”.
As for the album’s Standout Track, I will go with “Give Me Your Love And I’ll Give You Mine”. The Hidden Gem is “I Told Them What You’re Fighting For”, while the Weakest Track goes to “A Mother Always Knows”.
Overall, this is an album that is not a classic, but it is a good album. Despite years of use, Mother Maybelle’s voice is still in fine form, plus we get to hear her excel on the autoharp. The only real regret of this album, is that her legendary guitar-playing style, known as the “Maybelle Scratch”, was not featured on any of the instrumentals. This album is a solid 3.5 out of 5, and you could argue for a 4. Thoughts?
One of my favorite album titles is the subject of today’s Classic Album Review. In 1985, Jimmy Buffett’s label, MCA, released a package of Buffett’s best known material, titled “Songs You Know By Heart, Jimmy Buffett’s Greatest Hit(s)”. The title poked fun at the fact that only one of his songs to that point, “Margaritaville”, had been a top twenty hit on any charts. In reality, though, Jimmy Buffett hasn’t needed hit singles to build his incredible career. His albums are unique words of art, almost always enjoyable from the first to the last cut. They are a unique mixture of country, folk, pop, rock, reggae, even some jazz. He has a large, loyal fan base that buys the albums and the concert tickets, that any performer must envy. As for the album, a bit surprising that it only peaked at twenty-seven on the country bestseller list, and only one-hundred on the pop chart.
The album kicks off with one of his classics, “Cheeseburger In Paradise”. After listening, I’m ready to head to the local 5 Guys! Fun song to enjoy.
It could be argued that Jimmy is an underrated ballad singer. Exhibit A would be “He Went To Paris”. Arguably one of his best vocal performances, on one of his best songs.
Things kick back up with favorite among Jimmy Buffett fans, “Fins”, great melody and beat. If you ever go to one of his concerts, this song will be preceded by the “Jaws” theme.
“Son Of A Son Of A Sailor” is another favorite among Parrotheads. It’s an okay track, but I have to admit, though, that it really doesn’t do anything for me.
Another ballad follows with “A Pirate Looks At Forty”. Here, he looks back at his life up to his fortieth year, examining all he’s done, good and bad, and one actually detects a level of sadness that perhaps, more could have been done, to that point. Something that just about all of us who are now 40 or older, can relate to.
Of course, we all know the classic “Margaritaville”. A big country and pop hit in 1977. Really, what can you say about it? It’s a classic that I still love to hear and still the first song that comes to mind for most people when they think of Jimmy Buffett.
Side two begins with another of his best cuts, “Come Monday”. A top forty pop hit in 1974, it also made a brief appearance on the lower echelons of the country charts. A couple of our local radio stations still give this significant airplay. Again, we are hearing Jimmy’s ability with a ballad; a great, often underrated ability.
Another Buffett must is “Changes In Latitudes, Changes In Attitudes”. You can’t help but to hum or sing along with it’s catchy melody and easy beat.
Jimmy gave his 1973 recording of “Why Don’t We Get Drunk” a traditional country sound. More of a novelty song, one that should be passed over when youngsters are around. Again, a song that really doesn’t do much for me.
On the other hand, I especially like “Pencil Thin Mustache”. Best description I can use is a fun song. It’s Jimmy Buffett at his best.
“Grapefruit-Juicy Fruit” is an interesting track, especially arrangement-wise. First off, it’s a great song that you can’t help but tap toes, snap fingers, or bob your head with. The arrangement, though, is what catches my attention. First, there’s a strong element of jazz, but then, there’s also the steel guitar that sounds as if it came directly from an Ernest Tubb recording. Only Jimmy Buffett could make a combination like that, work.
Add “Boat Drinks” to my list of Jimmy Buffett songs that I like. Great beat and melody make for a great track, and like many of his tracks, it just captures the feel of the Florida coast, a place I love, particularly the Sarasota area.
And the perfect way to end a fun album is with a fun reggae-styled song, “Volcano”. A word of warning, though, if you listen to nothing after this song, it will be stuck in your head the rest of the day, as it will be in mine, now.
Still readily available on both CD and MP3 download, some CD editions include a gold disc, and those copies are in the neighborhood of $40-$50. I also found several used cassette copies, but amazingly, hardly any used vinyl copies. Perhaps Parrotheads are also “Vinylheads”, and want to hang on to those 12” discs.
This is a nice overview of Jimmy Buffett’s work from the first half of his career, and contains most of his best known work. There are other collections that include most of these, along with some later works, which I recommend, if you are looking for a complete overview of his career. That being said, this is still a good album, that is fun to listen to. A 4.5 out of 5.
Yesterday, we entered the realm of country-folk with Johnny Cash’s “Orange Blossom Special” release, and today, we stay on that style of music, but with an album that was released a year prior to Cash’s. Eddy Arnold’s release “Folk Song Book”. On the market, beginning in February, 1964, the album was recorded over a span of three days in October, 1963, with the Needmore Creek Singers. This album may well be one of Eddy’s more underrated efforts. The album, itself, peaked at number four on the bestseller lists, while containing one top-five single.
“Time’s A-Gettin’ Hard” opens this collection, a slower tempo song with lyrics that frankly, are very appropriate in today’s economic climate. A song many can relate to, today. It’s the typical smooth, easy performance that one expects from Eddy. I really like this track.
“The Young Land” is an okay track. It has a melody and feel to it that are reminiscent to “Scarborough Fair”, just not as good of a song. Eddy gives a great performance, though.
I do like his version of the New Christy Minstrels classic, “Green Green”. It does sound a good bit difference, though, with Eddy’s smooth vocal styling, as opposed to the NCM version. But it works, and works well.
The album contains only one single, “Molly”, a tale of a young man returning from the Civil War, to his wife and young son, but without his sight. A top five hit for Eddy. A nice track, with a touch of sadness to it.
Next, Eddy tackles the Billy Grammer hit “Gotta Travel On”. It’s a great song, and Eddy does the song justice with his version. Well done.
Side one ends with a track titled “The Song Of The Coo Coo”. This one gets some serious Hidden Gem consideration. Great melody, good lyrics, and of course, Eddy singing. Great arrangement, as well, that’s not overpowering, but perfectly produced.
Side two opens with a bouncy track from the pen of the legendary Harlan Howard. “Poor Howard” certainly fits the folk mold, or for that matter the old-timey music mode. It has that type of melody and lyrical content. Lyrically, kind of morbid, as the subject of the song is hung for killing his wife, but a great melody.
Can Eddy Arnold sing Bob Dylan? You bet. Eddy’s version of “Blowin’ In The Wind” is one of the best I’ve heard. Great recording.
Though written by veteran Nashville songwriter Danny Dill, “Jeff Canady” sounds just like a traditional folk tune. That being said, it’s a rather strange song. How the fear of a transient causes a young girl who couldn’t walk to start walking. Melody, good. Lyrics, weird. Result, not one of the album’s best.
Along with Dylan, Eddy also tackles Pete Seeger, with a version of “Where Have All The Flowers Gone”. Another nice, easy performance from Eddy. While I think the Kingston Trio version is the best, I do think Eddy’s version is comparable. Another good track.
“The Folk Singer” is an okay track, made better by the performance of Eddy Arnold. A story song about a folk singer who leaves his girlfriend for fame and fortune, only to lose it all, yet regain his girlfriend’s love.
The album wraps with Eddy’s version of “Cotton Fields”. My favorite version of this song can be found on Charley Pride’s “In Person” album, but I think Eddy does a great version of this well known song. A good, swinging way to end a pretty decent album.
Anywhere between $5 and $20 seems to be the going rate for used vinyl copies of this album. It was in print for several years, so it shouldn’t be too difficult to find a copy. I also ran across a couple of 8-tracks, as well. This album is not currently available on Cd or MP3 downloads, to the best of my knowledge.
As for the album’s Standout Track, I think I have to go with “Blowin’ In The Wind”, while “The Song Of The Coo Coo” gets the nod for “Hidden Gem”. As for the Weakest Track, I would have to give that nod to “Jeff Canady”.
Overall, a nice album of folk and folk-styled music, from a truly great vocalist. Is this his best album? No. But I do think it’s a very good album, enjoyable to listen to, and there are some outstanding tracks on it. Overall, I rate it a 4 out of 5.
Today, we take a look back at one of Johnny Cash’s classics. “Orange Blossom Special” was a 1965 release for Johnny that explores his folk side, and does so quite well, I might add. The album would climb as high as number three on the charts, while yielding two top ten singles, the title cut and “It Ain’t Me, Babe”.
I’ve always liked the title cut, particularly Johnny’s version. A true classic, indeed. A big hit for Johnny, peaking at number three in 1965. I like the tempo, quick, but not breakneck as it usually is in most versions; Johnny’s vocals are peak, and let’s not forget Boots Randolph’s sax playing. It’s also worth noting the back of the original album includes a story of Cash’s first meeting with the song’s composer, Ervin Rouse.
For the third time in the past week or so, we have an album that features “The Long Black Veil”. Again, while Lefty Frizzell has the definitive version, I am really liking Johnny’s version. It’s very different than Frizzell’s, but still retains that haunting sound that is necessary to make this song work.
Johnny Cash was an early supporter of Bob Dylan, in fact, I’ve heard that when Columbia considered dropping Dylan from the label due to poor sales, Cash threatened to leave the label, if they did. One of Dylan’s early songwriting successes was Cash’s version of “It Ain’t Me, Babe”. It’s funny, I used to not really care for this recording, however, as I’ve aged, the track has grown on me. It was a top five hit for Cash, and I think what I like is just how Cash’s vocals seem a perfect fit for the track.
Johnny Cash and prison songs go hand-in-hand, and a Johnny cash album that doesn’t include at least one, would seem incomplete. “The Wall” is the tale of a convict tormented by his crimes and a letter from his woman. He’ll try to climb “The Wall”, but he won’t make it. It’s a creepy, haunting track in the vocal chords of Johnny Cash, perfect for this track.
Johnny gives us some more taste of folk with his version of the Bob Dylan penned “Don’t Think Twice, It’s Alright”, which had been a hit for Peter, Paul, & Mary. I actually think I like Johnny’s version, better. Good track.
Side one ends with “You Wild Colorado”, a track where he compares the features of the Colorado River to his wayward woman. Not a bad track. Just Johnny and a guitar really gives this song the perfect sound.
Side two begins with “Mama You Been On My Mind”. This is another very folk-influenced track. The harmonica of Charlie McCoy, as it is throughout the album, is featured prominently on this track, as is the sax of Boots Randolph. This is an okay track. Nothing particularly special. One can’t help notice, though, the similarity of the riffs played by Charlie McCoy, to the one he plays on “It Ain’t Me, Babe”.
Johnny covers a hit of Johnny Horton, next, “When It’s Springtime In Alaska (It’s Forty Below)”. With the help of June Carter, Johnny gives us a pretty decent version of this classic. Minimal background music really is what makes this track, as it puts Cash’s vocals squarely in the spotlight.
“All Of God’s Children Ain’t Free” is a thought-provoking tune from the pen of Johnny Cash. One might consider it a precursor to his later hit “Man In Black”; very similar in lyrical content and almost as good.
Next, Johnny gives us his take on the oft-recorded classic “Danny Boy”. In addition to the song, he also gives us a story that may be the background behind the song. Unlike most versions of this song that utilize big orchestras, lush arrangements, and large background vocal groups, Johnny does it in a very stripped down fashion, just him and a guitar, and it gives an almost over-recorded song a completely fresh twist. I’ll go as far as to say this is the best version of “Danny Boy”.
Of course, “Wildwood Flower” is a classic from the early days of country music, made famous by A. P., Sara, and Maybelle (Johnny’s future mother-in-law) Carter. As prominently as the Carters are featured throughout the disc, one is surprised they weren’t given more of spotlight on this track that is so much a part of their family history. Nevertheless, a good variation of an old classic.
Just as prison songs are an integral part of Johnny Cash, so are gospel songs, and here, Johnny doesn’t disappoint with his version of “Amen”. This one should get you up and going. A truly grand way to end a very good Johnny Cash album.
As for availability, no surprise that you’ll have no problems finding this classic. If you want a classic vinyl copy, you’ll find it pretty easily. And if you prefer digital, it is currently available as both a CD and MP3 download.
The album’s Standout Track? I think the title cut, “Orange Blossom Special” is the obvious choice, here. As for the album’s Hidden Gem, I’ll pick “The Long Black Veil”, though “Danny Boy” and “Amen” deserve strong consideration. As for the Weakest Track, I would give that to “Mama You Been On My Mind”. It’s not a bad track, actually, but just wasn’t quite as good as the rest of the album.
This album is a Johnny Cash classic, where he puts much emphasis on folk music, and does so very well, I might add. His vocals were perfect for folk-styled music. I rate this a 4.5 out of 5. Any thoughts?
By the way, we are not done with folk-country, as tomorrow, we’ll see how Eddy Arnold did with folk music.
From 1982, comes a release from John Anderson. “Wild & Blue” was released in 1982, giving John his first top ten album, as it peaked at number three. The album would spawn three singles, including the biggest hit of John Anderson’s’ career, “Swingin’”.
A number one hit begins things on the album, with the title cut. “Wild & Blue” ended 1982 at the top of the charts. Twenty-eight years have not changed my opinion that this was a great single. The heavy dose of fiddles and steel, along with John’s twang certainly made this record stand out amongst the likes Kenny Rogers, Anne Murray, Crystal Gayle, Alabama, etc., that dominated the country airwaves at that time. Good country music, right here.
“The Waltz You Saved For Me” was first a hit for the orchestra of Wayne King, in the 1930′s, and later became a moderate country hit for Ferlin Husky. Here, with the help of Emmylou Harris, John gives an acceptable version. Almost pitched too high, though; I think it might have sounded better had they gone down about a key.
Next, John gives us another cover, with his version of the Bob McDill penned “Honky Tonk Hearts”. The song had been a minor country top forty entry for Dickey Lee, the previous year. Again, keyed a bit too high for me, I think it would have come off much better had he sang a lower key.
Merle Haggard joins in for a duet on the Lefty Frizzell classic “Long Black Veil”. Not as haunting as Lefty’s version, which we just discussed on last week’s “Lefty Frizzell’s Greatest Hits” review, but not a bad version. This recording actually comes off a bit too smooth, thanks to the strings in background.
“She Never Looked That Good When She Was Mine” is the second best song on the side, after “Wild & Blue”. A great pure country ballad that John nails. Certainly one of the highlights of the album.
John’s lament, “Disappearing Farmer” was a timely tune, based on the depressed agriculture economy of the early 1980′s, yet ahead of it’s time, musically, as it would be a couple of years before artists such as Willie Nelson, Merle Haggard, Charlie Daniels, Charley Pride, and John Mellencamp were releasing tracks about farmers. A rather well done track to end the side.
An album of traditional country music in the 1980′s would not have been complete without at least one song from Sanger Shaefer. Here, he contributes “Honky Tonk Saturday Night”. A nice vocal performance from John on this one, but overall, a track that comes off a bit bland.
The third single from the album was “Goin’ Down Hill”. A top five hit in the summer of 1983, but pretty average, to me. Probably the weakest of his top ten hits.
On the other hand, “The Price Of A Thin Silver Dime” turns out to be an excellent straight country weeper. Vocals are dead on, the arrangement is perfect, this one is a definite Hidden Gem contender.
Everyone remembers “Swingin’”, John’s biggest hit. All over the radio in early 1983, it was completely different than anything John had previously done, adding strong elements of rock and pop to his country, yet it worked.
A pretty decent ballad ends the album. John really puts some emotion into “If A Broken Heart Could Kill”, a track that in my opinion, was single-worthy.
Because it was such a big hit, the Standout Track has to be “Swingin’”. As for the Hidden Gem, I will go with “She Never Looked That Good When She Was Mine”. And the Weakest Track? “Honky Tonk Saturday Night”.
Availability-wise, the used vinyl I saw was going around $8 to $15. Instead, why not get a CD that is priced at about $12? That’s right, this album is currently available on CD, but not MP3.
Overall, a pretty decent effort from John Anderson. There are a couple of tracks that are pretty average, plus a couple of more that could have been better with a bit of a vocal adjustment. Also, a couple of really strong tracks, as well. For me, I would have to rate this one a 3 out of 5.
As we reach the weekend, we end the week with a look back at the Greatest Hits compilation from Tompall & The Glaser Brothers.
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A new direction. That's the best way to describe today's classic album from Dolly Parton. “Here You Come Again” was a new musical direction, heading into a more polished, pop-infused sound that, while it turned off some of her fans,...
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Today's Classic Album Review places us in the year 1966, for a greatest hits package from one of the most influential acts in country music history, Lefty Frizzell.
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Always Late, classic country, country albums, Country Music, country oldies, Greatest Hits, I Love You A Thousand Ways, If You've Got The Money I've Got The Time, Lefty Frizzell, Saginaw Michigan, The Long Black Veil
Summer, 1971. “Marcus Welby” and “Flip Wilson” own television. Pittsburgh and Baltimore are on a collision course for the World Series, Richard Petty and Bobby Allison dominate NASCAR, Kissinger visits China while President Nixon announces he will visit, and to no one's surprise, at the top of the bestselling country albums, is Charley Pride.
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We start the week with a bit of 1980's country-pop from Sylvia.
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This week, we’ve been all over the country music map, from the 1980′s style of John Anderson, to some folk-influenced country from Johnny Cash and Eddy Arnold, to the multi-genred sounds of Jimmy Buffett. Today that week long trip winds up with a release from one of country music’s pioneers, Mother Maybelle Carter.
