Response to Countrywithatom

Thanks, MT, for the well-considered commentary. Interesting to see you still on the outside looking in after this sample of what I consider to be the best the genre has to offer.
You're Stronger Than Me: Allright, I give up. If Crazy, I Fall to Pieces, and this one don't break through, you simply don't like baked beans. Interesting, the "Christmasy" comment. So what, did the Jordanaires underwhelm?
I Know One: Quickly becoming the star track of the disc. I wouldna guessed it.
Crazy Arms: "Lift" in the song a good way to describe the chorus, I think. Hi-five on the walking bass. Fun to hear, fun to play (actually, it was a style I remember you playing on occasion: "Knee Deep in the Blues," anyone?) Cline probably did not cover this, as she preceded Price, the songwriter, somewhat.
Raindrops Falling in a River: This one quickly becoming the "dog" of the album. Fiddle definitely has a different effect for me than for you. When used right, I do not at all consider it a "filler" sound.
Success: Interesting, your comparison of the two ways a rock musician can do country. A couple of people making comments (me & Stephen, I believe) have mentioned more or less how an album of songs like this is kind of like the distillation of an entire career's worth of love & homage crammed into 10 or so songs. Love of the craft shines through on such tracks. Do not remember Jenny Grits. I remember a Jenny who was a grit, though. Any of you Black Hawkers ever run into anyone, anywhere else in your travels, who knew what the Waterloo definition of "grit" was? I haven't.
Long Walk...: Another one being consistantly liked. Glad everyone seems to see the humour in the song, rather than thinking it's just another hard luck song. It could be a parody of a style and still embrace it honorably (think Honey Pie, by PMac; or a few Spinal Tap songs); but I don't think that's the case, here. And, while J.B. is also a fine, fine blues guitarist (you can imagine), this definitely is country, country, country. "Least country song" is a little odd to think about, since they're all country songs, but I'd say that this is pretty smack dab in the center of the country continuum. I suppose, with the exception (and only with the exception) of the guitar solos. Anyway, for a direct answer: I think humour intended, but NOT a parody.
Worst of All: As far as "twists," I'm not sure I was suggesting there was a twist in the sense that there is a "twist" at the end of a movie, but just that he has a different, more unique and lyrically well-crafted approach to some pretty standard themes of heartbreak.
Blue: I actually think she looks kinda trashy. But maybe you're into that.
Lock, Stock, & Teardrops: Good thing the production of country songs are not being overseen by people who have a dislike of steel guitar and fiddle. I LOVE the steel guitar in this song! as do (I'm guessing) other fans of the genre. But nice evidence of your residence on the outer rim of that bubble. Not sure if I see the suicide thing there, though I suppose it's possible. Glad you seem to see in her voice what I do.
I Can See Me Lovin' You Again: You got the "you" & "me" mixed up, though I should really talk about mixups, huh? That's be like me accusing someone of mistaking a puddle for a path. You really, really don't like steel guitar; as this song has (I feel) about the finest example of the instrument I have ever heard.

Grace

It is true that I have been stressed over my cd release date, but what else is new? I am generally one to get all worked up before I can calm down. That's just how I was put together at the shop. I ranted, freaked, and then reflected. I need to be thoughtfull of Pat's busy life and to appreciate the fine cd that he provided us. I am a big boy and can handle holding off for another month.

I am the kind of guy who never wants to make things harder for people. Therefore, why would I want to give my friends two cd's to comment on in one month. It is crazy. Thanks to Methuen and anyone else who was willing to endure the onslot. It would not be fair to Pat or anyone else if I rushed mine out. I am willing to "punt" or provide some "ecology time" so that we can all put forth our best listening to Pat's cd. If it is alright with Steve, I will kick off the new year.

It is a blessing that you guys can sail in clam waters immediately after getting into the boat. I am cursed with sailing through stroms and rough seas before I see those calm waters. Thanks for being great friends and for putting up with my storms of craziness. You guys are the defintion of GRACE.

Stephen's comments on #13.

Or, Bring On The Whiskey.


First off, the inside sleeve track listing is mixed up. It was a crisis. Not a big one. The bigger crisis was... well, as for me, there's always been a natural prejudice against country music. In my formative years (let's say before the year 2000), I tended to take a very passive approach to country music. Looking back, I see that as due more to overexposure to country-pop (or pop-country, or what have you) during the late 1980s. Also, this prejudice was based on rancid dislike for Garth Brooks. A dislike that exists to this day. Then, of course, there's the country music that connects directly with the Bush administration currently. "Shock'n Y'all"? Fuck off.

I get the feeling I’m making more of this than I should. I see Wikipedia’s entry on Countrypolitan includes this quote: 'Upon being asked what the Nashville Sound was, Chet Atkins would reach his hand into his pocket, shake the loose change around, and say "That's what it is. It's the sound of money". '

So, perhaps, that's one way to frame this this genre for people like me today: somewhat aware of music in the 1970s and willing to move beyond the current pop radio airplay. Someone who may not have ‘liked’ country, or who would not have found it fashionable, but could let their gaurd down. I think about the country music that influenced me growning up: Johnny Cash (wouldn't have admitted that in the glam '80s). Los Lobos (I will at least claim fandom pre- "La Bamba"; so I'm talking 'One Time One Night' and 'A Matter of Time'); and K.D. Lang. I received her video compilation "Harvest of Seven Years" as a gift in 1991: it's a great compilation. So, perhaps this stuff isn't entirely foreign.

All star rankings are out of five stars. Also: I wrote these comments fairly cold. My process is to read the compiler's synopsis after hearing the song, so anything I'm guessing at in the song comments, I've attempted to rectify and learn by reviewing other comments when I'm done.

Your'e Stronger Than Me: I tend to associate Countripolitan with the "open" sound featured in the production here. That might be due to my main exposure to the style, K.D. Lang's Shadowland album (featured in track 9). In other words, the high-end piano twinkling, the reverberated guitar, and the mid-tempo pace. I suspect I'll be saying this throughout the entire collection, but this music makes me want to find a bar and a jukebox, preferably with these songs in it. I can't say I can recall much of the Patsy Cline catalog, but I can probably sit here, right now, and play the song "Crazy" back flawlessly in my mind, and I've never actively sought the song out. Conversely, it's hard song to come back around and try to "hear" it, as if for the first time (much like hearing just about anything by the Beatles.) I can't say I've actively listened to this song before, so it's the better choice for this collection. I loved it. I know the sentiment in the lyrics is something time-honored in all of music, particularly country and blues, but that's fine with me. Bring on the whiskey. (****)

I Know One: Short and sweet, this one. Jim Reeves has a fatherly voice, so naturally my images here are in black and white, and include something out of My Three Sons. Maybe I'm less apt to connect with a song about a gentleman caller with a rose in his extended hand. I don't think his suit fits very well. Still, it's catchy. It's a tricky thing for me. When a wordless chorus is used in a song; if it starts to sound even the least bit ironic, I start to giggle. It's almost as if they're standing right behind him, Mel Brooks style, while he's conversing with his future ex. Well, almost. I think it works here. (***).

Crazy Arms: Okay, full disclosure: I actually paid to see the the Dennis Quaid star vehicle Great Balls of Fire! in the spring of 1989, based soley on the fact that Winona Ryder was in the movie. While the film was horrible and is now forgotten, the music was great, simply because Jerry Lee Lewis went back and recorded all his own music for the biopic. That included this song, which came with a caveat: Dennis Quaid performs a duet with Lewis. Well, I haven't listened to that version for a while, but this song feels like a close proximity. I feel less connected to Price's warbly singing style than, say, Patsy Cline's gentle authority, but then I'm thinking of Winona Ryder, circa-1989, to make up for that. Just with crazy arms. (***). I see. I should be reading Dan's primer as I write this. Basically, a million people have done this song. Got it.

Raindrops Falling on a River: Hey, it's Jim Morrison! Doing country! Sorta mariachi-style, this bit. Maybe it's because he sings his love has vanished like raindrops in a raging river, but I'm not connecting with this one. Muscially, I can't get there, the mid-tempo pace is almost something you could dance to, in a circle with all the others on the dance floor. I suspect you're actually supposed to be sitting at the bar for this one. (**).

Success: It's amusing how here, life got so good that failure occured in spite of things. I'm a fan of Costello, although I was probably most attentive to his work when I started college, which means I followed the same pattern as 98 percent of his fan base. Perhaps it doesn't help me here that my favorite EC album is "Imperial Bedroom", the album after "Almost Blue", although musically the two works aren't divorced from each other. ("Almost Blue", the song, shows up in "Bedroom"). Maybe that's just an excuse. I think what I'm hearing here is an honest homage from a guy who, I'm guessing, recorded his country cover album in praise of music he loves. It's decent enough, and EC is eclectic. But I'm not clicking with this one, either. (**1/2).

Long Walk Back to San Antone: Okay, that's the voice. I know it's possible the song's mix, the production, or what have you , may be enhancing his voice, but I love the vocal here. It's the kind of sound that would stop me shuffling through a radio dial (okay, clicking on various web-based streaming links), just to hear it. It's cruel, but the laid back way Junior Brown relays this woe, it's almost amusing. Like, dude, what exactly did you do to get her so ticked off at you? I'm impressed by Junior Brown's inventiveness (mentioned by Dan and covered in Wikipedia). And here, the guitar work -- or is that guit-steel? --- is fun to listen to. The whole song is fun. (****).

Worst of All: On his website, Mike Ireland states his influences are 70s country, and 70s pop tunes. So, to suggest an answer to the question, why isn't this guy more popular? I can't imagine a less-fashionable foundation for current popular music than 70s country. And Ireland is resolutely anti-flashy. My limited knowledge of what makes current country music popular includes young guys doing arena-sized rock shows, and Ireland just doesn't fit it. This is too bad, because this is a great song. Maybe I'm just easily convinced, but his influences do take me back to 70s pop and country, when the two mixed more evenly on the radio. I appreciate the sentiment: "I know your'e gonna leave me, so I have to love you worst of all," among my favorite lyrics on this mix. I have to agree with Dan on this one, this song is majestic. (****1/2).

Blue: I guess this is the one song on the mix that I remember hearing a lot when it came out. My mother-in-law loved, loved, loved this song. Rimes was quite the deal, based on her age. I remember there was a few books about her life, a t.v. movie, and t-shirts with her face everywhere for a while in the late 90s. Granted, if I didn't have my extended family as part of her fan base, I'd have missed the whole thing. At the time, I reacted with a bit of cynicism. At 13, shouldn't we be getting the authorities involved to come in and ask questions? What happened to this kid? Okay, I'm not completely serious. The song doesn't really go into real adult territory; I think Rimes is conveying feelings a kid may have, if they're mature and are guessing at what love can be. With that, I won't quibble further. Rimes is a performer who can sing, and this is a performance, after all. Perhaps after hearing Mike Ireland just one track before, this is a bit of a letdown, if only becuase it's just solid. Also, with Patsy Cline opening the mix, I'm already prepared to go back and listen to the first song again. So, (***).

Lock, Stock and Teardrops: Of all the songs here, this is the one I'm most acqainted with. I bought "Shadowlands" back in 1991, shortly after K.D. Lang hit perhaps her high point with the general public with Absolute Torch and Twang. While it's easy to say cultural politics kept Lang from being an even bigger country sensation in the U.S. (although I'm sure that's part of it), I think Lang was simply too eclectic to stay locked into one mode for too long. Some critics panned her for putting out a distinctly non-country album in 1992 (Ingenue), but that album's focus on torchy songs sans steel guitar was simply okay, rather than fantastic, like this song. I love Lang's voice, especially back in these days, when she recorded a number of songs that were so dynamic. (It was Holding Back the Reins, which she performed on Saturday Night Live, that got me into her early albums). (****1/2).

I Can See Me Loving You Again: Good closer, so quiet, and... well, is this not the only song on the disc about maybe making things better? Even if in Paycheck's voice, the soul of a born loser is laid bare? Not that there's anything wrong with that. I think I can relate to that fairly well, though I haven't been in prison or rehab, personally. I like the images of someone down to just about nothing left; the music has to feature finger-snaps, for God's sake! At least, that's what I'm hearing. (*** 1/2).

Summary:

Countripolidan: ****

If for no other reason, I praise this mix, as it introduced me to Mike Ireland and Junior Brown, and helped me get a deeper perspective on a genre I've got a few meaningless hangups about. Given that I'm familiar with some of the stuff on this disc anyway, I don't know how I got into that rut. It's not like I'm even cool. I despise cool. It gets in the way.

Favorite song here: Worst of All.

Least Favorite: Raindrops Falling on a River.

Skip Dec.???

Just a thought. Theoretically, we would be getting Cory's next collection just a few days into Dec., which gives us about a week and a half to receive and do commentary on Gibbs' collection.

Rather than loop ourselves, should we just stick a dead month in there to get back on track and have Cory send his shit out in Jan?

Response to "T-clog's Take on Thirteen"

Overall: what can I say - I knew I would score with at least one of you bozos. As far as music, you are, without a doubt, Association Man. Not because of any particular love for "Never My Love," but because you see all songs through a pair remembrance-tinted glasses. I remember one among us (Stephen) once saying, back in high school, that "...it's hard to dismiss your associations," or some similar statement. He was, at the time (as I recall), trying to justify on my behalf a liking I had for a certain glam-rock tune, after I mentioned it always reminded me of some event or another. Hazy now, the whole situation, but the spirit of the statement always stuck with me. So, after all these years, as I can usually dissect and extract individual elements from songs, I am still able to recognize and respect the powerful influence of our own memories & association of songs with particular people, places, & events in our respective lives. Indeed, with almost every song & band, I can remember where I was, as well as what I was doing & feeling, at the moment I first heard it/them (almost like the "where were you when JFK was shot?" thing...) That said, the extent to which your memories influence how you hear music continually blows me away. Almost like I'm Picard when he lands on that planet with this alien that can only speak through allegory. There can be no debate as to who has the "superior" way to appreciate music, as they both get the job done and we both get boundless joys from our listening. But we are worlds apart.

Strange, then, that we converge in the arena of country. Perhaps not so strange, however; given our respective personal histories with the music (from our youth). Though it's no longer the "filter" through which I hear & evaluate the songs, developing a comfort with this style on AM radio in the 70s was definitely was allowed me to get my foot back in the door in my 20s.

On to the songs:

1. You're Stronger Than Me: I wonder if we have the same Greatest Hits. Black, with a weird sort of airbrushed Patsy wearing a cowgirl shirt on the front? Anyway, that was one of my first country discs. It definitely has some amazing songs on it. Since then, I've aquired only one more disc by her, though it is an album, rather than a collection, (1961's Sentimentally Yours) and I feel fortunate to have a bit of a sneak peek into just a few her lesser-heard songs. I think your: "Everyone knows that she has a lot of hits, but not everyone knows that she can make almost any song into a hit." comment is a funny one. Almost sounds like something that someone writing liner notes to some LP in the 70s would say.
2. I Know One: Pretty sure that's just a sound, there. Not a word. Clever line, but not written by Jim Reeves. I don't think he penned any of his own material, which is a pretty common thing in CP, & most country. It was written by the long-forgotten Jack Clement.
3. Crazy Arms: OK, let's all agree this was the first and last time we'll ever drop a date-rate drug reference in the CMC. Glad you liked this one. Don't like to hear old people sing? What the hell? After all these years, now we know the truth. Geez, lay off the old people, dude! What are you, PMix???
4. Raindrops Falling in a River: Agreed, they could bring those beautiful horns out a bit more.
5. Success: Recommendation on EC album. Well, if you like EC and you like country, Almost Blue (from which this song comes) seems like a pretty safe bet. I find it just a little erratic, but there's some beautiful gems on it. He really, really gets the genre, and his love & reverence for it shines through. And a great album cover!!! Although, I would add the Mixdorf caution that this is not indicative of most of his material is is a lot more sort of mildly avant-garde & alternative.
6. Long Walk Back to San Antone: LOVE the deep voice & the song, also (hi-five through the blog!) Thanks for the extra bonus feature on armadillos. It made me check back to see if I had posted a "100 word minimum" requirement on my comments.
7. Worst of All: I share (and maybe exceed) your liking for the song, but in this particular one you may possibly be missing what he's saying in these lyrics. While things are by no means rosy in his paranoid world, he's not currently experiencing breakup, heartache, or any of those associated lost-in-love scenarios (though he may soon be). Sounding in again on the twang: I sort of think that he's accentuating a normal accent he has, because he thinks it adds to the song. I think it works and I love the song. Who am I to judge his artistic vision? Most people don't talk with vibrato (Sally Struthers notwithstanding). Do I decry the vibrato in their singing as "fake?"
8. Blue: Glad you loved it. Definitely bewitching yodeling by the 13-year old. Goosebumps OK. Hard-on, not OK.
9. Lock, Stock, & Teardrops: Song by Roger Miller, of course. Do you not like the song, or not like her rendition, or what? Are you possibly scared of kd Lang? She is as God made her.
10. I Can See You Lovin' Me Again: Again, blogger hi-five, this time followed by a "blog-roll." I love this one, too. Every cotton-pickin' thing about it. Perhaps by own personal BS pick.

The wrap. Glad you returned to the fold on the comment style. Too much computer code language, intended or not, in your other style. This way-much more readable and discussion-friendly (and easier for you, it sounds like). "Your score is very high. I scored your album at the grand number of 8. That means I liked it a lot. " Thanks, dude, but I understand if you just say you gave it an "8." For, you see, I'm not retarded.

COUNTRYWITHATOM - VOLUME 13

COUNTRYWITHATOM - Volume 13


The “Nashville” sound. For some time, Dan has been exploring country music. Here we have a village that he has created, a village where the Coca-Cola Cowboy frequently strolls through, looking to recharge his lust for baked beans. A village of artists who have been carefully selected by Dan to represent a sound that he loves, a sound that I have been exposed to throughout the years. I do not know much about the different branches of country music; it has been discussed among this group of friends – what might be good, what might be bad. General differences between classic country western, country-pop, alternative country, bluesy country, Garth Brooks fancy-shirted brand of pop, and the “Nashville” sound that Dan shares with us here in Volume 13. Like any genre or sub-genre of music, the distinctions can be made as complicated and as many-layered as you like, however, the general distinctions can still hold up fairly well – country, rock, and blues. Though I understand that country music has as many layers and categories as “Rock” music, my commentary will be based on the assumption that the music on Volume 13 is indeed “Country Music.”

Based on a phone-call with Master Dan, I am compelled to add these few thoughts before I continue. We all take an approach to CMC. Basically the same, but each unique. There is a “Persuasion to Listen,” there cannot be a “Persuasion to Love.” As we share music that we dearly love, we of course LOVE it when a close friend feels strongly for a song that we love ourselves. This will not happen all the time, but what will happen –due to our obligation and the “Persuasion to Listen” – we will deepen our understandings of each other as individuals and strengthen the bonds of friendship, if it does not, the club should be immediately dissolved. This forum should be honest, without the constant need for disclaimers (what I’m doing now), and FUN. Who in the world do you love ALL aspects about? Can such a person exist? How about a being? Even a God? Who on all days can LOVE ALL aspects of a greater being? There are seconds of doubt, flashes of anger, moments of exodus.

I am attempting to articulate how this club can work at its highest level for all members. Going forward, perhaps a little more attention should be given to the comments initially provided by the person creating the compilation and a little less attention should be given to the opinions expressed by those providing the comments. Because they are opinions, pay attention to the FEELINGS. You can’t help but to feel your feelings. Let’s discuss the feelings.

So I like baked beans, but it is no surprise, that after the cloud of gas has cleared, I am not really a fan of country music. Nothing new about that. Much of what I said about the subject for Coca-Cola Cowboy remains true, perhaps with a few subtle changes. Coca-Cola Cowboy and Vol. 13 are very different, but in the context of the 13 volumes so far in CMC, I do consider them sister albums, and yes I’d like to see them get it on. See, I didn’t say brother albums because that would be too Brokeback. As time has gone on, I have experienced more country music. The numbers of country songs that I like and dislike have like-wise increased proportionately. So overall, there are more country songs that I like these days then ever before, by virtue of being in my thirties. There are songs that I do love and really enjoy, however, there is a gulf between me and country music. There has always been, and there likely will always be. Why? Partly due to my childhood, bad experiences with country music or people who liked country music, stereotypes that have too often been reinforced, feelings that simply exist, a thematic contradiction to my soul, and no more room on my spiral staircase.

These songs will be discussed relative to each other on Volume 13, which I have been meaning to address as a very interesting component to CMC – this idea of one song standing next to other songs within these many worlds of nine to twelve or so songs. More on that, perhaps later. I liked the short-running time of this compilation and though the order of the songs did not match the listing in the notes, after a while I think I appreciated the order as it happened more than the way in which it was listed. I listened to the CD both ways. I’d be interested to hear your take or reasoning behind your originally intended order.

When I first received the disc, saw the cover, looked at the listing of songs, I formed an idea of what the compilation might be like. My first couple of listens revealed something other that what I had imagined. After this sensation disappeared I was finally able to listen and then of course, to make comments on the songs themselves. So, that brings us to that point on the comments where the songs themselves take stage, front and center. So giddy-up and tighten your spurs, ‘cause we got work to do. Let’s get err done!



You’re Stronger Than Me-Patsy Cline

If you do not like baked beans by the time you are 40 years old, chances are you never will. I saw Cline listed as the first song and I did wonder to myself how I might react. Perhaps my idea of her voice is too deeply ingrained or perhaps it is simply the way I feel about her voice. These thoughts were with me, but I attempted to be as open to new possibilities as possible. But alas, I am not a fan of her voice. I would still hold that there may be a Cline song out there that I might enjoy, but it has not yet been found. I cannot help it, it is simply the way I feel. I think it may have something to do with the swooping nature of her voice. To me, this equates this idea of “pure insanity” which I have long associated her with. “Crazy” crystallizes this idea. Maybe I am not being fair, maybe it’s the look in her eye, or the way her producer had to pull her down from the ceiling and slap on her shoulder pads before placing her before the mic. I know Dan deliberated about placing this song on the CD, let alone as song number one, but I agree with his reasoning – if indeed she is the standard for country music vocals, by all means kick off the CD with an example. I also agree that if that style was so highly regarded, then it should be brought back. And Dan, I am sorry to disappoint you, again after all these years. As far as her looks – it has less to do with her lack of hotness and more to do with the fact that she looks like too many elementary school teachers that I have had – like an odd combination of Swick and Herbert, but with a loony eye or two. Please love me all the more for this, dear Dan.
OK, so I may be in the minority if I suggest that this song is largely ruined by Cline’s voice. Enough of Cline then, let us take a look at the rest of the song. The music is lovely and rather Christmasy. It moves along gently and softly and I love the sound of the “walking bass.” I also liked the twittering guitar bits between phrases and during the choruses (I think this must be the same as the tremelo-laden guitars that you highlighted). And those were the Jordainaires, eh, interesting.



I Know One–Jim Reeves

One of my favorites on this collection. Simply a marvelous, amazing voice. So deep and clear and pure. I had the pleasure of covering “Blue Boy” in 44 and became quite intimate with Jim’s song as I attempted to sing the song as well as I could. I had no idea he was killed in an airplane crash, I had always thought of Reeves as still living, much like Obi-Wan, as a hermit, waiting for his successor to come forth.

I love the female singers in the background, reminds me of Leonard Cohen and his use of young-sounding female vocals in the background. Though unlike Cohen, I Know One has a very pleasant holiday feel to the song that is quite warm and comfortable.

I Know One is a nice, simple little song with a snappy ending sung by a beautiful voice.



Crazy Arms-Ray Price

A new artist for me. An OK song that incorporates many of the standard conventions of country music, beginning of song, ending of song, guitar sound, drum pattern, and typical fiddle. I kinda like the way the song moves into the chorus, a nice little lift in the song. Partly due to the harmony that Dan indicated, adding a bit of drama to the arrangement. Of all the country music conventions, my clear favorite is the “walking bass,” I do really enjoy that style of bass. And, as Dan noted, this marks the new “era” of country music on the CD, which as I alluded to on Coca-Cola Cowboy – it may be the older stuff that I like better. Are you sure Cline didn’t cover this song?



Raindrops Falling in a River-Johnny Bush

I am not crazy about this song. It is very similar to too many songs and I am usually not a fan of this kind of fiddle use – same way I felt about its use in “Crazy Arms,” which is somewhat similar to the use of harmonica in some kinds of songs. It almost strikes me as a “filler” sound and rarely affects me on an emotional level.

I appreciate his persistence through his throat and tax issues. A good sign that an individual’s art is coming from a true place. I also like the guitar bubbling in around 1:53, a neat moment in the song.



Success-Elvis Costello

The introduction is very country and maybe I’m missing something or maybe it’s just like a Chuck Berry guitar thing – it’s just what you do. There is a difference between a Rock musician singing a song with flavorings of country music and a country song inviting a Rock Singer into their world. I prefer the first kind. Like so many Beatle songs, as an example.

This song is OK. I like Costello’s voice, but as just discussed, he has been fully inserted into the world of country music, stripped of his rock inclinations, except for his voice. An interesting idea, if you truly like country music. It can be likened to football’s offense. The offense in underway, we’ve just plugged Costello in as QB.

Speaking of country music – is anybody a fan of “County Music.” Remember the “Jenny Grits?” – they were a relatively famous County Music band from our own Black Hawk County. I’m really not a fan of County Music – though.

As far a playing steel guitar, maybe, might be like playing some Indian instruments, which I think would be a whole lot of fun.



Long Walk Back to San Antone-Junior Brown

Brad Roberts from Georgia! I’d be surprised if nobody else makes a similar connection. This song works best for me if I listen to it as a parody or a satire on country music, and really – couldn’t it be while at the same time embracing a musical style honorably. Except for his over the top country voice (the way he says Texas! Is he really being serious?!) this is possibly the least country song on the album – more of a blues song, which fits nicely with the idea of this young man RETURNING to San Antone, despite all the pain suffered there.

What I like, I REALLY like the guitars, they are unique and incorporates well-played straight blues. I really understand and agree with Dan regarding the guitars here. They really are well done and unique. I like the sound of the guitars and love the inflections between phrases. Clever and well done and a further indication that something more is going on in this song, more meat to my parody/satire theory, which, I could not find anything in Dan’s note that necessarily refutes this idea.

The solo at 1:57 and some of the bends are hypnotic. Very bluesy, a nice wild, “country solo.” I appreciate its uniqueness, rockness, and bluishness within the context of this compilation. The song also has a nice ending. So what about this being a friendly parody/satire Dan? Is there something that you know that I do not that would blow this theory apart?



Worst of All-Mike Ireland

It is a bit surprising that this isn’t a BIG name in country music. Sonically it sounds as strong as the biggies. The production quality also sounds quite high. Is he Irish? Does a last name of Ireland automatically mean the man is Irish? Perhaps – I really do not know.

I think the song is ok, I cannot decide if there is more to it or not – lyrically. I guess I do not see the “twist” that you referred to. Perhaps you could enlighten me further. Or maybe it is simply that he is talking about cheating when cheating isn’t actually going on?

The piano does sounds nice and the orchestration is pretty effective. The fiddle actually isn’t that bad in this one, despite my earlier comments. The words are pretty good and are among the best on the compilation, perhaps because I do not fully understand them. Interesting song and an interesting find; it fits well on this CD.



Blue-LeAnn Rimes

Thirteen years old. That is AMAZING! I would not have guessed it. Makes me not want to mention the surprisingly sexy picture of Rimes that I witnessed recently. No she wasn’t squirming around in a vat of baked beans, but it was surprisingly sexy, but there, I did mention it. The hotness of female country stars is very shallow, perhaps, but it is very important to me. Interesting, fascinating story about the Cline connection, even though it is more myth plus I do not subscribe to the fact that Cline is dead. She is alive somewhere and it terrifies me.

I can see the connections vocally between the two stars, but I like Rimes voice in this one. Nicely acrobatic and sweet, and unlike the Cline song, the strength of this song rests solely with Rimes’ fine vocal performance.

When I first read your notes, my eye read Austria. What was Dan doing in Austria? Of all the places internationally that our Dan may travel to, I do not see Austria. I would like to go to Austria someday, but where on my list, I am not sure.



Lock, Stock & Teardrops-k.d. Lang

There is much that I do not know about Lang. In fact I know more about the Lang step- sisters of Waterloo than I know of k.d. Lang. Her voice in this song is chilling, commanding, and a little haunting with wonderful leaps to falsetto. The strengthening harmonies are nothing short of extraordinary – I love that technique, and when it works, can add such emotive power to certain passages in song. Best little two-song run on the album includes this song and the Rimes song.

I am not crazy about the steel guitar and feel the song would have been better served with an acoustic guitar, bare with a touch of reverb. Lock, Stock, and Teardrops – suicide by gun. Pretty sad, powerful stuff.

That or preventative action – like “Stop drop and roll!” Just today, as we were celebrating Trista’s birthday Molly was getting a little careless around the candles and I cautioned, “Be careful of the flame Molly.” Molly confidently replied, “It’s OK, I’ll just stop, drop, and roll.”

Does anybody else sense a tad bit of Kate Bush in the vocal performance? I’m not talking as an artist or as a performer, just in terms of the kind of power expressed through the vocal. It didn’t strike me that profoundly, but enough where I thought I’d throw it out in case anybody else had the same sort of feeling.



I Can See You Lovin’ Me Again-Johnny Paycheck

Just when you thought it should be I CAN’T See You Lovin’ Me Again – no it’s CAN, which I think is a good thing. I do like the piano throughout this song. Not crazy about the steel guitar. There is some passion behind his voice, but I have not really been able to sink my teeth into this one. I appreciate your information about him, especially your take about “if I had the guts to say…Take this job and shove it.”


Closing

I still like baked beans and the expulsion of the resultant gas. I am, generally speaking, not a fan of country music. I am glad to have been persuaded to listen to this compilation and hope we can go a little deeper into discussion on a few items from these comments that you may have found interesting, amusing, or bewildering.


BS: I Know One by Jim Reeves

SIWHI: My Sweet Annette by Drive-By Truckers

T-clog's Take on Thirteen

Volume 13: Countrypolidan (Dan, October, 2006)

You're Stronger Than Me - Patsy Cline

Patsy Cline's voice is a treasure. She has a powerful throat and an amazing ability to belt out incredible combinations of notes and magic. She is way before my time, but her voice and artsmanship is timeless. The bass is steady and just deep enough that it grabs you by the hand and casually walks you through the song. Everyone knows that she has a lot of hits, but not everyone knows that she can make almost any song into a hit. I am reminded of my mother's hometown of Osage, Iowa when I hear this amazing woman sing. The reason being is that I often heard music like this at my grandma and grandpa's house when staying with them. Wow, what a flashback Dan. I can see my grandparents sitting at the table with the music playing on the radio. My grandma mashing her potatoes with a fok that was drenched in butter, and grandpa covering hi potatoes in black pepper. The Patsy Cline that I remember being played the most at my grandparent's was Crazy. I didn't think anything about the song, other than I really liked it. It was not until college before I was able to appreciate her more. I bought her greatest hits and have enjoyed it periodically through the years. This is one of the songs that is on that greatest hits album of mine.

I Know One - Jim Reeves

I really liked the background singers. They bring a much needed component to the song. It is a well played hand in songs of that era. To me, the dud-i-kas are interesting. I am curious as to what they are truely singing. Is it a word of just a sound? Which ever way, it is very interesting to me. The lyrics are the songs greatest characteristic. "How many fools would have you? I know one." Clever line Mr. Reeves. Is he related to Christopher Reves? The story is sad like 99% of all country songs, but it is a good story. You did a great job of roping in a song that captures the time in which it was created.

Not moved very much by this song. I can appreciate it and I enjoy listening to it, but it is not high on my list. It really sounds like an average song from that time. If you flipped me back into time and drove me across the states of Nebraska and Iowa in a 55 Chevy, every radio station that you could pick up would be playing songs that sound just like this. It was average at best. Like it, but I won't marry it.

Crazy Arms - Ray Price

Love the beat and the violin combonation. The gentle beat married with the angelic voice of the violin is in my opinion like dropping a date rape pill into my drink. I get it and I want more of it. The voice of Ray is very nice on my ears. The man is lonely all of the time. Get him someone in those crazy arms fast. Why is it that people have to be lonely? It pains me to see people who want love but can't find it. I thought that I would be one of those people until I met my lovely wife. Good song my little kitty cat brother!

The only thing that I thought was a little off for me was that he sounded old. Don't really like to hear old people sing. If you sound like an old guy it waters the song down for me, but if you are old and don't sound old, rock on Mother!

Raindrops Falling in a River - Johnny Bush

There are some great horns hidden in the background. Bring them forward man.

Definately not an artist that I would type into my newly beloved Pandora. Thanks again Methuen! Sounds like a good song if you were going to start up a country cocktail bar. If I was talking to someone when this song pops on the radio, I know that I would not even notice it playing. I believe that this is the driest part of the album. From here on out it will rain a lot and the water will fill the album banks and also rise up to get the bottom half of me wet.

Success - Elvis Costello

Hats off to Mr. Costello. I am amazed on how you can flux between rock and country. I really like this song. Great voice and great sound. I have to explore getting some of his works. Does anyone recommend an album that has 10 awesome songs on it? It seems as if I have asked about him before, but I can't be certain. If you suggest one to me before please d it again. I want to start making a list of artists to buy albums from and to listen to more. This being the real purpose of this club. Love the song Dan. It might be my favorite on the album.

Long Walk Back to San Antone - Jr. Brown

LOVE the deep voice and the song. It is a powerful and entertaining song. It has a deep country aroma that transends rockabilly and the blues. I can't get enough of the steel guitar. Just a wonderful song and a flippin ludicrous story. Like Methuen said in his comments, "Why walk back?" Get out man. If you can't leave just hitch a ride with an armadillo. Just watch out for trucks. When I was cowboying it up in Texas, I seen a dead armadillo at least near every mile marker. They have no sense of safety or have good traffic sense.

Worst of All - Mike Ireland

Unlike Methuen, I like this song a lot. Yes, the twang pops like that of a southern hillbilly setting of fireworks inside his house, but I appreciate the unique sound of that country twang. This tune catures the simple and raw feeling of lost love. My hat is off to all those country boys who can put such heartache into something so creative. How easy is it when your heart is ripped out of your chest to do something insane? I can imagine flying off the handle if my heart was torn from my warm and buttery chest. Instead they create magic. Is the song a downer? Hell no man! I have great empathy for the guy. I also have a new sense of appreciation for the great things in my life. I said it before and I will say it agian. These songs end up making me feel good. No matter how bad things are going for me, at least I have it better than what the song is singing. Good pick Dan. I truly dig it man.

If it is true that he is faking his twang, then I say humbug. Be yourself guy. If he has a natural twang then ignore my last couple of sentences.

Blue - LeAnn Rimes

LOVED IT!!!!!!!!!!!!!!!!!!!!!!! I was going to buy this song with my itunes card, but thanks to Dan I don't have to now. Thanks! I love all aspects of this song. The bewitching yodelling is so haunting that I literally get goosebumps. Fantastic pick!

Lock, Stock, & Teardrops - k.d. Lang

I like the range in her voice.

I really didn't get a whole lot out of this song. I don't care to much for k.d. Lang. The song is not bad, but it didn't make me think of anything except that I don't like her music. Crazy I know. Just don't and probably never will. Sorry.

I Can See You Lovin' Me Again - Johnny Paycheck

Your album has finished strongly with me old man Dan. I really like his voice. It sounds gentle and strong. It is very Don Williams like to me. The story is great. He really loves her and would do anything for her. What a great pick me up. He has hope and that's always good medicine. What is there not to like? LOVE IT Danny! LOVE IT!

The wrap: My format is different this time because I didn't want to type all of the grades. I have to get this out to you now before it gets too late. Speaking of late, we should not expect our November CD for some time. That will leave us with little time before December's CD comes out. Anyway, back to Dan's CD. Your score is very high. I scored your album at the grand number of 8. That means I liked it a lot. Good job Dan!

Response to Commixtary

*sigh* It always deflates me a bit when I find out music I share does not bring the same level of excitement and joy to those with whom I share it. I actually had an interesting conversation with Sharon about this. Why this phenomenon (which, after all these years, should really fail to surprise me to the extent it does) seems to affect me more than others (I seem to take it almost personally!) is an interesting character study. But it's probably a topic for another time, another blog.

As I mentioned about a year ago (DanPR), a corner of my brain continues to hang onto this ridiculous notion that there is an Absolute Certainty with respect to the quality of music. I, alone, appear to be in on The Secret, and the extent to which others are unable to share my observations and preferences is the extent to which they have Imperfect Ears. Ridiculous, of course, but there it is (and I think I have the same issue with my attitude towards humour: you'd better like the same Onion articles as me, or God Dammit there's something wrong with you!). So it is probably this mental quirk of mine that perpetually drives me to find some way of conveying to others, in words, the mechanics of exactly what it is in these songs that floats my boat.

Others, however, are not takers. If people listen to a song and it doesn't appeal to them, chances are that those individual components of the song I point out are not going to, either. That is, if they even have the inclination to listen for them. People can not be "re-trained" by me how to listen to music.

So, I say this long preface simply to acknowledge this reality which my intellect grasps, but my heart cannot.

Onto the response...

Overall:
No real thoughts regarding what you recognize (or don't recognize) as differences between Countrypolitan and other styles of country? Just wondering if you have some overall thoughts about this particular sub-genre, with respect to its brothers. It seemed like you were a bit obsessed with the whole "accent" thing. I've wondered the same thing about the British accent that disappears when they sing (really, really weird, I've always thought, considering theirs is the original accent!). I'm not sure what I believe here, but it seemed to drive your analysis of every song on the collection - actually ruining the Mike Ireland song entirely!? - which I think is a unfortunate. I would say that I don't tend to group these singers together, accent-wise, other than to say that they have pretty unique voices. There's definitely a timbre/resonance sort of thing that is really conducive to the phrasing in a lot of country, and maybe that's what you're hearing as "accent" (Mike Ireland and his obvious twang excepting). Sort of like in choral music or heavy metal. Not necessarily "natural" voices used in those instances, but do we consider them "fake?" No, they're what are used for that style. Also, you pretty much charted, song for song, how lyrics were about heartbreak. Yup, you're right. What can I say? Welcome to country music, descended from The Blues.

As far as the songs themselves - there's not much in your comments beyond 1) accent analysis 2) heartbreak analysis and 3) a general statement of appreciation or lack thereof. So there's not a ton of jumping off points for discussion, but here's a few ruminations:

I Know One: I do like your encapsulation of the vantage point of the singer, though I would not have thought Forrest Gump in a million years.
Long Walk Back to San Antone: Agreed! Keep walking! And he's not mad, even. Just simply stating his observation. On the album cover, he's off to the side of the highway, guit-steel slung over his back (at least she left him with that!), preparing for the journey.
Lock Stock and Teardrop: I think T-Clog & Dan thought Sam Phillips was a guy because her name was Sam. And I, at least, thought her voice sounded like Paul McCartney's falsetto. Any "wow-that's Roger Miller?" moments for you? I had you in mind with my "those who might consider him a novelty act" remark.
I Can See Me Lovin' You Again: Indeed, I agree about the arrangement. Some similarities, I think, between the resigned character here and in "I Know One."

Commixtary: PM Reviews Countrypolidan

Ahh, to have been the drummer in a Countrypolitan band. Almost nothing asked of you other than the requisite bolo tie and crisp white shirt, and the relentless heart of a metronome. Life was good.

So where to begin in this, our second collection of country inspired tunes? First, some personal history. I hated country music almost universally as a child. I made no distinctions amongst the various sub-genres (how could I?) but sensed in them a pessimism that my young heart rejected. I had no capacity for understanding love lost, and was (and remain) an unabashed optimist. That said, I certainly have found a capacity for understanding heartbreak, as almost anyone our age would, though perhaps to a greater degree than some. And I like a good sad song.

My father loved this music, but my strong opinion allowed me only to mock it. And piled on top of the other aspects of my rejection of country music was (and is) my natural inclination to deride anyone with a southern accent as inferior or uneducated. That sense is hardly universal, but there are more than a few examples of why I have that prejudice - some so obvious that I won't bother to mention them.

This collection has brought my thoughts on the southern accent into sharp focus as I've listened and has led me to a few conclusions and one (slightly rhetorical) question. First the question - why is it that people who sing in English with almost any other accent have that accent diluted or eliminated altogether while a whole crop of country artists seem to have their accents accentuated while singing? My answer - the accent is a bullshit marketing ploy.

We all know bands from England and Sweden who when interviewed are almost unintelligible, but when they sing would make your 3rd grade teacher proud. I've heard bands who don't speak English at all sing perfectly in English with no accent at all. Do Canadians sound like Canadians when they sing? I am skeptical of the southern accent in country music.

Luckily, most of these artists do NOT have what I would call a southern accent. There are traces of their likely origins, but generally they do not sing like most people in country music today sing, with a complete emphasis on their accent. The most extreme example of the southern accent on this collection would be Mike Ireland (and he has a degree in English for crissakes). I think he's a faker. Sadly his faking has not helped him to find success in the world of country music superstars like Kenny Chesney or Garth Brooks. (big ol' soup spoon pot stirring there)

So what generally have I gotten from this? An appreciation for the sub-genre to be sure. It appeals to me in a way that contemporary country does not, though not generally enough for me to pursue it in much greater depth. But onto the songs....

1 - You're Stronger Than Me - Patsy Cline
You can hear a bit of 'country' in a few of her phrases but generally you hear whatever style she had, including the gentle tremor that flows through most of her sustained notes. It gives her an air of vulnerability which certainly fits with the lyrics of the song, but also flows through the other works of hers that I know.

This is the first of a nearly non-stop collection of love-gone-wrong songs, interspersed with spurned lover songs. These are people for whom love and happiness is always a distant goal. Sitting on a bar stool and crying in a beer is the natural state of listening.

It's a perfectly fine song, and it's hard not to like Patsy, both for her voice and for her sad story, but it doesn't leave me particularly affected.

2- I Know One - Jim Reeves
OK, here's a guy raised in Texas who grew up poor and generally uneducated, worked hard jobs amongst the great unwashed and seems to have no accent at all. Hmmmmm.

A great soothing baritone and probably my favorte song of the collection. I have a soft spot for the funny 50s/60s arrangements, the sorts of things found on Nat King Cole records and a Johnny Mathis Christmas Album I've listened to since I was little. It has a feel that is easily mocked, but it finds a sentimental place in my heart.

And yes, a song of spurned love, although from a point of view completely devoid of bitterness. This is a guy watching his love self-destruct and waiting for her to realize he'll always be there for her. This perfectly describes the love relationship in Forrest Gump. Very sweet.

3- Crazy Arms - Ray Price
No southern accent, despite all of his formative years spent in TX. And that's not to say his voice doesn't have a country feel, but it avoids the cartoony inflections to be found in so much country music.

He seems to struggle hitting the notes in the first line, but then seems to warm up nicely. I don't have the same erotic reaction to the harmony that Dan does. It's a perfectly serviceable harmony but not ejaculatory by any stretch of the imagination. All in all, another perfectly fine song, but one that doesn't get me wound up in any dimension.

And yes, another sad sad song of lost love. (we're three for three)

4- Raindrops Falling in a River - Johnny Bush
Another TX guy, with a bit more of a perceptible accent, though still avoiding the cartoon. This accent sounds authentic to me since it's fairly unique.

As a song, this one is among my least favorites. I find the lyrics pretty dopey and the music uninspiring. Of course it's another song about lost love, though this time more mutual. Damn these guys struggled to find joy. No wonder so many were alcoholics.

5- Success - Elvis Costello
Clearly no southern accent here, though no British accent either.

I'm a big fan of EC, though his adventures in country music have befuddled me. He clearly gets it and the song Almost Blue shows up on all of his various Greatest Hits collections. With EC you get a bit more lively drum part, with some subtle fills and other more adventurous offerings. And as a piano player he seems to bring that part into greater prominence than in some of the others, though the arrangement remains of a kind with the others.

Good stuff, though it remains segregated from other EC stuff for me. I appreciate his chameleon nature, a tribute to his musical ability, but I like is more ironic rock and roll better.

6- Long Walk Back to San Antone - Junior Brown
Not sure about the accent - clearly a hint of southern, but again not cartoony. He's from Indiana, the southern reaches of which dip their toes more than a little into Dixie.

This song cracks me up. Why oh why is he walking back to San Antone? Didn't Texas do him enough wrong? Isn't it time to give another state a chance? C'mon man! You're setting yourself up for heartbreak again. Something about the way he says 'somewhere near Dallas' is really funny to me, though in a pleasant way.

I like this song for its loping arrangement and its funny lyrics. Not at the top of the list, but strongly in the second tier. And yes, there are some fine guitar parts in there.

Don't backtrack! Keeping walking OUT of Texas! For your own sake!

7- Worst of All - Mike Ireland
Ooof. The accent is painful to me in this song. He's got it all. The voice breaks at the end of words. The almost relentless accenting of the first syllable of words whether you'd normally do that or not. If you were teaching someone to sing country music with an accent you could learn from this. And I think it's total bullshit.

And I can't get past it to evaluate the other aspects of the song. Of course it's about love gone wrong, how could it not be?

8- Blue - Leann Rimes
A hint of southern, but not like old Mike. She from MS and TX.

No shortage of country songstresses coming from the early teenage years, including Tanya Tucker and Brenda Lee, but even without that particularly thing to make her unique, her voice is remarkable. I don't sense quite the vulnerability (oddly) that Patsy had though perhaps it's just the song. This is more forthright in its declaration of spurned love.

She seems to have never achieved the success of this song, either by my consciousness or in reading her Allmusic biography. Strange.

Fine song, though no sprinkles to be found.

9- Lock Stock and Teardrop - kd Lang
No accent.

kd Land has always intrigued me, though never enough to buy an actual album. I could be a sucker for critical acclaim, despite my derision of music critics. I think I've learned to distrust all art critics in my post college years, having seen enough architectural critics praise total bullshit to finally get the inside joke nature of the critic industry. If everyone likes it, it can't be good. Once everyone does, well, time to move on and cry sell-out.

She has a lovely voice, one that I'll be surprised to hear from amongst the CMC cognoscenti doesn't strike some as being that of a man. Sam Phillips sings in a much higher register than kd, and isn't a lesbian. Not that any of that matters. But still, both Dan and TClog though SP was a guy.

This song probably takes second place among those on this collection. The words are good and the singing and arrangement complement them nicely. And oh yeah, love lost.

10- I Can't See You Lovin' Me Again - Johnny Paycheck
Some sort of an accent, but not southern exactly, or at least not solely. You should read his Allmusic biography just for the humor in the first paragraph if you haven't.

The rest of his story is pretty sad, sad enough to justify a lifetime of sad songs, unlike some of these other folks. His voice is certainly unique and one that's likely to turn off large numbers of people. I can dig it, even while I don't really get into the song. Still, it finds it's way into that lofty second tier. The arrangement complements the mournful nature of the song, and the snaps are a nice percussive device.

Recapolidan!
There was only so much room in my heart for a collection such as this. I just don't hear it the way Dan does. Still, I'm glad to have had my accent revelation (and to have beaten its dead horse in my comments) and to have heard many of these songs for the first time. Only the accent of MI really curdled my milk. The rest made for pleasant listening, and Jim Reeves in particular brought some warm memories of my father back. That's pretty worthwhile.

You and I seem to be the yin and yang of this club. Keep on keeping on.

BS - I Know One
SIWHI - not my genre

Bring on Men Without Pats!