You are currently browsing the monthly archive for April 2010.
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April 30-May 2
Why today? Because the Red Headed Stranger turns 77, and he’s still going strong.
About the record: Not released as a single. Appeared on the LP Country Willie – His Own Songs, RCA Victor LSP/LPM-3418, recorded early April 1965 at the label’s studios in Nashville. It was released in September that year, reaching No. 14 on Billboard‘s country album chart.
The first album in Willie Nelson’s nine-year tenure with RCA Victor collected his versions of a dozen songs he’d written that others made famous. “Hello Walls” was the number that Faron Young took to the top of the charts in 1961. Our version wasn’t Nelson’s first cover of his own song; that came on his debut album, … And Then I Wrote, on Liberty Records in 1962.
This one, however, has an interesting twist, courtesy of steel guitarist Pete Drake. He uses the talk box device he invented to provide the “hello, hello” response to the “Hello, walls” kickoff in each verse. Jerry Reed (or maybe Jerry Kennedy) provides tasty acoustic guitar work. And Nelson keeps his literally off-beat phrasing in check (mostly) for a pleasant version of the song that put him on the map as a writer.
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April 29
Why today? Clint Black’s debut album, which contained this song and three other chart-topping singles, was released on this date in 1989.
About the record: RCA 9078-7-R, recorded in early 1989 in Nashville. Released in October of that year, reaching No. 1 on Billboard‘s country chart. Also appeared on Killin’ Time, RCA 9668, released April 29, 1989. It topped Billboard‘s country album chart and reached No. 31 on the pop album chart.
Killin’ Time might be the best-ever debut album for a country artist, and this Black-penned gem is one of its better songs. The album is the subject of an insightful review by blogger Razor X over at My Kind Of Country. Note the discussion (in the blog and among the commentors, most of whom are also country music bloggers) comparing Black and one of his contemporaries, Garth Brooks.
About the artist: Check out Clint Black’s bio on Allmusic.com.
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April 28
Why today? Decca released Webb Pierce’s fifth single for the label, and his second to top the charts, on this date in 1952.
About the record: Decca 9-28091, recorded Feb. 29, 1952, at the Castle Studio in downtown Nashville. Released April 28 that year, eventually reaching No. 1 on Billboard‘s country chart. First LP appearance was on Wondering Boy, Decca DL-8295, released in August 1956.
Sometimes I just feel like hearing a good, nasal, honky-tonk wailer. This is one of those times. “That Heart Belongs To Me” is one of several examples of Webb Pierce’s ability to craft a memorable melody and a memorable lyric — “There are so many flirty guys with flirty, flirty ways” is quite a kickoff, huh?
And he’s got quite a band backing him — Grady Martin and Billy Byrd on guitars. Tommy Jackson on fiddle and Jimmy Day on steel.
About the artist: We last visited with ol’ Webb in February, featuring another early cut from that same compilation album. Check out the post for a little background on Pierce’s iconoclastic nature.
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April 27
Why today? An entire three-hour session was devoted to cutting this folk-country classic, 51 years ago today.
About the record: RCA Victor 47-7542, recorded April 27, 1959, at the label’s studio (not yet known as RCA Studio B) in Nashville. Released in June of that year, ultimately reaching No. 5 on Billboard‘s country chart and entering the Top 50 on the pop chart. Also appeared on the album Thereby Hangs A Tale, RCA Victor LSP/LPM-2036, released October 1959.
“Tennessee Stud” was the first song recorded for Eddy Arnold’s collection of folk tales, adding the former “Tennessee Plowboy” to the list of country and pop artists riding that wave in the late ’50s. The song’s composer was Arkansas teacher Jimmy Driftwood, who had also penned Johnny Horton’s crossover smash “Battle of New Orleans.” I’m probably not the only one who remembers Doc Watson’s announcement “Jimmy Driftwood wrote this thing,” before launching into a wonderful version on the 1972 album Will The Circle Be Unbroken. I heard that one years before I heard Arnold’s, but both are among my favorites.
Three guitarists graced the session: Chet Atkins, Ray Edenton and John D. Loudermilk. If I had to guess, I’d say Edenton’s licks are the ones that stand out, with Chet and John D. providing rhythm. (My expert readers will correct me if I’m wrong!) Steel guitar legend Jerry Byrd played the bass, with Buddy Harman and Doug Kirkham on drums and “clip-clop.” (Don’t know which is which.)
Arnold is in fine voice, on a great arrangement of an evocative number. That’s as it should be. After all, there never was a … HOSS … like the Tennessee stud.
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April 26
Why today? Smith’s recording, probably the best-known version of Kris Kristofferson’s expression of intimate longing, went gold on this date 39 years ago — her only single to reach the 500,000 sales mark.
About the record: Mega 615-0015, recorded spring 1970 in Nashville. Released early 1971, reaching No. 1 on the Billboard country chart and No. 8 on the pop chart. First appeared on Help Me Make It Through The Night, Mega M31-1000, released September 1970. It reached No. 1 on the Billboard country album chart and No. 33 on the pop album chart.
This was the career record for the late Sammi Smith, the California-born singer with the husky voice. Authors David Cantwell and Bill Friskics-Warren selected “Help Me Make It Through The Night” as the pinnacle in their book, Heartaches by the Number: Country Music’s 500 Greatest Singles. Check out the Amazon.com preview of that listing (linked here in Part 1, Parts 2 and 4, and Part 3).
About the artist: Sandra Brennan sums up Smith’s career at Allmusic.com.
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April 23-25
Why today? Friday marks the 29th anniversary — was it really THAT long ago? — of the release of George Strait’s debut single as a solo artist.
About the record: MCA 51104, recorded Feb. 2, 1981, at Music City Music Hall in Nashville. Released April 23 of that year, on its way to No. 6 on Billboard‘s country chart. Also appeared on Strait Country, MCA 5248, released Sept. 4, 1981. It reached No. 26 on Billboard‘s country album chart.
After one bar of rhythm from the rest of the band, Rob Hajacos’ fiddle screams this honky-tonk classic — the non-Texan’s introduction to George Strait — to life. Listening to this, it’s hard to believe Strait was a rookie artist, isn’t it? “By blending the hardcore honky tonk, Western swing and Bakersfield country with a few melodic ballads that weren’t designed for the barroom, he set the template for years and years of modern country,” wrote Stephen Thomas Erlewine in his insightful Allmusic.com review of the Strait Country album that contained this fine Dean Dillon-Frank Dycus composition.
About the artist: Strait has set quite a standard, and he has influenced so, so many male artists — from the storied Class of ’89 to the current crop of stars. His place in the Country Music Hall of Fame is well-deserved.
Have a great weekend. See you Monday.
April 22
Why today? It’s birthday No. 74 for the pride of Delight, Ark.
About the record: Actually, there IS no record. This is a performance from the 1960s (Canadian?) TV show Star Route, hosted by Calgary-born actor Rod Cameron. It seems Campbell was a regular, at least for a while.
I chose this because it shows how comfortable and talented Campbell is doing hard country, a style we don’t really associate with the pop-friendly, Jimmy Webb interpreting Campbell. “Goin’ Steady” is the old Faron Young number from early in his career, 10 years or so before Campbell tackles it here.
About the artist: Glen Campbell has done just about all there is when it comes to entertainment. In our context, check out what the Country Music Hall of Fame has to say about a member enshrined in 2005.
