Classic Album Reviews

Classic Album Review-Jim Reeves “Moonlight And Roses”

We are digging into the stacks, today, to pull out this album, a 1964 release from the legendary Jim Reeves. Quite possibly country music’s greatest crooner, Jim possessed a rich, warm, relaxed style that was perfect for the smoother strains of The Nashville Sound, that was a large part of 1960′s country music. I do not know who first used “velvet” to describe his vocals, but a more appropriate word to describe his vocals, you will not find. “Moonlight And Roses” was released in late spring, 1964; it would be the last album of new music released before his death in July. Though no hit singles came from this album, the album did peak at number one on the country bestseller list.

Opening up the disc, is Jim’s version of “Moonlight And Roses”. While it contains a bit of tempo, this is still a relaxed, smooth, easy-on-the-ear track that quickly confirms Jim’s standing among great country crooners, which is among the best, ever.

Jim also handles the Gene Autry classic, “Mexicali Rose” with ease, making it seem as if it was written specifically for him.

Jim’s take on the old-time classic “Carolina Moon” is okay, though I think it was keyed a little higher than I liked. I think it would been a bit better, just a bit lower.

“Rosa Rio” may be the best track on this side. Perfect for Jim’s smooth stylings, the western feel is retained, despite the easy listening-styled, lush arrangement.

“Oh What It Seemed To Be” is another outstanding recording by “The Voice of Velvet”. Arguably one of his best performances on album, is this track. Jim at his best. Unfortunately, the muted trumpets get a bit annoying during this track. I think it would have been even better, had they left them off.

Despite Jim’s typically outstanding vocal work, along with the top notch arrangement and production, “What’s In It For Me” fails to evoke any real emotion or response, rather coming off as a bland piece of music, that is quickly forgotten when finished. Sometimes, even a great vocalist is not enough to save a weak composition.

With side one completed, we turn our attention to side two, which opens with the track “Roses”. Despite having been written by Tim Spencer of The Sons Of The Pioneers fame, I’ve not previously heard this ballad, until this album. Well worth the wait, though, as this is a beautiful piece of music. Of course, Jim’s vocals are stellar, but on this track, I think it’s the arrangement that makes the recording. Utilizing a tempo and arrangement that is reminiscent of a late 1950′s top forty ballad, everything falls into perfect order on this track, making for what may well be the Standout Track of the disc.

Almost as good is “One Dozen Roses”. Light, airy, and bouncy, it’s an infectious track that is simply enjoyable to listen to.

Nobody sings “Moon River” any better than Andy Williams. That being said, Jim’s version is one of the best of the rest. The arrangement is not quite as lush as the Williams version, yet it retains the intimacy that this song demands. Kudos for a great effort on this track.

From Andy Williams, Jim glides to a Tex Ritter favorite, “There’s A New Moon Over My Shoulder”. As expected, Jim’s vocals have nothing negative to be found, yet as a whole, this track actually fails to impress, and I’m not sure why. I think it’s because the arrangement is too lush for this song. I really think this song works better with the more western-styled backing heard on Ritter’s original.

On the other hand, Jim’s version of the old favorite “It’s Only A Paper Moon” is an ear-catcher. A nice, light, bouncy arrangement complements Jim’s easy vocals on what has to rate as one of the album’s better tracks.

For the finale, Jim takes on the Irving Berlin penned “When I Lost You”. A near perfect vehicle for Jim’s velvety voice, this nugget is a perfect end to what, overall, is a very pleasing and soothing listening experience.

I was just a bit surprised to find this album available on CD. It is part of a package, with Jim’s 1965 release, “The Jim Reeves Way”, but at around $12, that’s a good deal. As for used vinyl, it’s out there, pretty easy to find, and I saw it priced anywhere from $1 to…get this…$68! You should be able to get it for around $10-$15. I even ran across a copy on RCA’s short-lived 7” Compact 33 format.

“Roses” gets my nod for Standout Track, while “Rosa Rio” gets my Hidden Gem nod. “What’s In It For Me” failed to impress, thus getting the Weakest Track pick.

A good, solid effort, is this collection of songs about moonlight and roses. Song quality varies, just a bit, but the production and vocals are as good as I’d expect. This is an album that I’m sure was well received by his fans, yet, if I were introducing Jim’s music to someone, it’s not the album that’s going to grab their attention, despite Jim’s performance. I’m actually a little disappointed with the overall product, as I feel like it’s good, but not quite as good as I expected. I’ve been sitting here, trying to put my finger on what I think is missing from this disc; it’s the “wow” factor. It’s a nice album to listen to, but not one that will likely make one shake their head in amazement, unlike some of his other works. For me, I think this album is a solid 3.5 out of 5; I can’t, though, seem to justify to myself giving it any higher than that. Thoughts?

MORE JIM REEVES MUSIC

“We Thank Thee”

MORE GREAT CLASSIC COUNTRY

Eddy Arnold – “My World”

Eddy Arnold – “Folk Song Book”

Glen Campbell – “Gentle On My Mind”

Johnny Cash – “Orange Blossom Special”

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Classic Album Review-Anne Murray “Where Do You Go When You Dream”

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

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

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

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

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

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

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

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

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

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

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

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

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

MORE 1980′s COUNTRY MUSIC

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

Ronnie Milsap – “Keyed Up”

Ricky Skaggs – “Highways And Heartaches”

Rosanne Cash – “King’s Record Shop”

Willie Nelson – “Stardust”

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Classic Album Review-Vern Gosdin “Chiseled In Stone”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MORE GREAT 1980′s COUNTRY

George Jones – “Still The Same Ole Me”

Earl Thomas Conley – “Somewhere Between Right And Wrong”

Alabama – “My Home’s In Alabama”

T. G. Sheppard – “Slow Burn”

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Classic Album Review-Porter Wagoner “Y’all Come”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HOW ABOUT SOME MORE 1960′s COUNTRY

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

“The Buck Owens Collection”

Jack Greene – “Statue Of A Fool”

Bill Anderson – “I Love You Drops”

Loretta Lynn – “You Ain’t Woman Enough”

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Classic Album Review-Tanya Tucker “Love Me Like You Used To”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MORE MUSIC FROM GREAT COUNTRY LADIES

Martina McBride – “Wild Angels”

“The Best Of Judy Lynn”

Reba McEntire – “My Kind Of Country”

Crystal Gayle – “We Must Believe In Magic”

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Classic Album Review-Charlie McCoy “Good Time Charlie”

The year, 1973. The place, the country music album chart. The subject, Charlie McCoy and his album “Good Time Charlie”.

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Classic Album Review-Kitty Wells “Country Music Time”

Today's review looks back at a release from the original “Queen Of Country Music”.

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Classic Album Review-Ernest Tubb “On Tour”

We wrap this week's worth of Classic Album Reviews, with a release from one of country music's legends, Ernest Tubb.

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Classic Album Review-Bill Monroe “Bean Blossom ’79″

Bean Blossom. A small township in Monroe County, located in rural southern Indiana.

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Classic Album Review-Reba McEntire “My Kind Of Country”

Pulling one out of the request bin, today, a 1984 release from Reba McEntire.

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