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