Tag Archives: Dwight Yoakam

100 Greatest Men: #7. Buck Owens

Buck Owens100 Greatest Men: The Complete List

For many Americans, he was the guitar-slinging comedian that co-hosted Hee Haw.  But before he signed up for that popular show, he had already amassed a body of work that defined the sound of California country.

Owens was born in Texas and raised in Arizona, where he picked up the guitar from an early age.   He played gigs in Phoenix and other Arizona cities until his late teens, when he relocated to the city that would be synonymous with his sound and style: Bakersfield, California.

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100 Greatest Men: #8. Lefty Frizzell

Lefty Frizzell100 Greatest Men: The Complete List

Lefty Frizzell just may be the most influential vocalist in country music history.  His signature honky-tonk style has been the foundational template for several generations of traditional country vocalists, smoothing out the twangy edges just enough to please the ears of mainstream audiences without compromising its hillbilly roots.

Frizzell was born in Texas, but moved to Arkansas at a young age. He earned the nickname Lefty in a schoolyard fight at the age of fourteen, and it followed him from that point on.  Though he was singing on the radio in his teens and performing locally, run-ins with the law sidelined his music career in the mid-forties.

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100 Greatest Men: #19. Webb Pierce

Webb Pierce100 Greatest Men: The Complete List

Rocketing to stardom in the aftermath of Hank Williams’ death, Webb Pierce became country music’s biggest superstar in the 1950′s, dominating the charts and establishing a flamboyant style that would become forever associated with traditional, honky-tonk country music.

Pierce grew up in Louisiana, cutting his teeth on Jimmie Rodgers records and already developing his own sound by his teenage years.  At age fifteen, he already had a weekly radio show, performing his combination of the Cajun sounds of his home state and the Western Swing that was dominating country music at the time.

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Country Universe Talks with James House

James HouseEngland swings, or at least it did back in Roger Miller’s day. Nowadays, England is more likely to line dance, which helped an album from one of Nashville’s top singer-songwriters become a hit – almost 20 years after it was released.

To back up a bit: in the late ‘80s and early ‘90s, country music was in a creative boom era, and James House was one of the reasons. His two albums on MCA Records (James House, Hard Times for An Honest Man) and one for Epic (Days Gone By) are all top-quality affairs that featured his distinctive voice and excellent songwriting chops. While he only had one Top 10 hit — “This Is Me Missing You” — he garnered airplay with several singles. House’s real success, though, came as a songwriter, as he penned hits for the likes of Dwight Yoakam, Martina McBride and other artists.

Those three albums really deserved a wider audience, and even today, they are well worth acquiring should you ever stumble across a copy. Days Gone By, though, ended up enjoying a renaissance in England last year, where it spawned three hit singles and coaxed House back into the recording studio for a new album and an overseas tour. Not bad for an album that was released in 1995.

“The way this all got started is that country line dance and line dancing in general is generated by the choreographers,” House says. “A choreographer there by the name of Yvonne Anderson had my records for a long, long time. She said that something happened in her life, and she was listening to “This Is Me Missing You,” and something struck her to make a line dance for it.”

The dance and the song took off, and it was soon followed by“Little by Little” and “A Good Way to Wind Up Lonesome,” also from the Days Gone By album. By July 2013, House was a major hitmaker in England. He didn’t find out about it until November.

“A fan said, ‘Do you realize that “This Is Me Missing You” is #1 on the Country Dance charts?’” he recalls. “My immediate reaction was, ‘Great, who cut it?’ and the e-mail came back that said, ‘No, it’s your actual record.’”

House had toured England as an opening act for Randy Travis in the early ‘90s, and that was his only substantial time there as a country singer. After doing a little research and talking to the magazine that ran the charts, he began putting feelers out for a trip overseas for a promotional tour. That quickly snowballed into a full-fledged tour of England, with 19 shows in July and August that are sold out or are quickly approaching that level.

House also decided to put together a new album. Broken Glass Twisted Steel, released April 29, is his first solo release on his own record label, Victor House Records. Earlier this year, he released a blues-rock record for the Troubador Kings, a side project where he sings and plays lead guitar.

Broken Glass makes for a pretty comprehensive James House primer. Three of the 11 tracks are his versions of #1 hits he wrote: “In a Week or Two” by Diamond Rio, “Ain’t That Lonely Yet” by Yoakam, and “A Broken Wing” by McBride.

“Then there was a song, “Here’s to You,” that I cut in 1990, and I never felt like I nailed it,” he adds. “So I recut that and was really happy with how that came out. The rest is new stuff.”

“King of Nothing” was something that he had written with the Warren Brothers in the late ‘90s and sang live for years. He recorded that song on the advice of his wife. The rest of the album came together after pouring through his catalog for songs he liked. The first single, “Every Time It Rains,” was rediscovered in the process.

“I wrote it about six or eight months ago with Michael Bradford, who played bass and co-produced the record with me. I had forgotten all about it,” House says. “I had never turned it into my publisher for some reason. I probably just demoed it and stuck it in a drawer somewhere. When we recorded it, it just had that feel that it might want to be played over and over. Hopefully everybody will feel the same about it.”

Despite the 20-year gap in House’s recording career (he has recorded new music periodically), Broken Glass fits in quite nicely with his previous work. His earlier albums never tried to keep up with the production trends of the era, which is probably why don’t sound dated today. Broken Glass is unmistakably country, albeit with a rock edge, and House’s new songs aren’t limited to the typical topics found in today’s country music.

“I was thinking about the album and how there are no trucks on it,” House says. “Love songs to me are timeless, and there are people doing pickup truck songs so much better than me.

Besides, “I like muscle cars, so if I’m going to write about a car, it’s going to be a Chevy Malibu or something,” he adds.

House’s upcoming tour through England appears to be just the start of a busy time for him. He’s working on a U.S. tour now, and he recently made his debut on the Grand Ole Opry.

“I’m looking forward to it,” he says of his touring plans. “I’m getting e-mails all the time from the promoter saying that shows have sold out. It’s a blessing to have this much excitement about it. And at this stage to have it happen, I’m grateful.”

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Hall Worthy: 2014 Edition

halloffamelogoEight years ago, we posted our second edition of Hall Worthy, a list of significant country music figures who we felt were most deserving of being in the Country Music Hall of Fame.

Since then, a lot has changed.  First and foremost, more than half of the list is now in the Hall of Fame (or, at least, headed there later this year.)  An additional entry, Wanda Jackson, is now in the Rock and Roll Hall of Fame.

A bigger change came in 2009, when new categories were introduced to ensure that two artist inductees would be represented from different eras:  The Modern Era (20-44 years of national prominence), and the Veterans Era (45+ years of national prominence.)  There are also three more categories that rotate, meaning one from each category gets in every third year:  Non-Performer, Songwriter, and Recording and/or Touring Musician.

Finally, since that list was published, our readership has grown tremendously and is incredibly well-versed on country music, past and present.  So in this new and now annual edition of Hall Worthy, we are going to run down the list of the most successful artists that are eligible but have yet to make it into the Hall of Fame, in the order of  “Hall Worthiness.”

The Modern Era:

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Alan Jackson

Scoring his first hit in 1990 with “Here in the Real World”, Alan Jackson is the most successful country artist that isn’t currently in the Hall of Fame.  His storied career has included 25 #1 hits and 49 visits to the top ten.  He’s won a slew of awards over the years, including many for his songwriting.  He is the most traditionalist of all of the nineties superstars, but has managed to stay relevant regardless of how pop the genre went over the past quarter century, selling more than forty million albums in the U.S. alone.   He should be the next inductee for the Modern Era.

Randy Travis

Randy Travis

The poster child for the new traditionalist movement was also the first true country music superstar to sell millions of records without any crossover airplay or rock press appeal.  Travis is the primary reason that Nashville turned away from pursuing pop airplay for more than a decade, realizing that there was more than enough money to be made by growing (and eventually saturating) the country market.  His debut album, Storms of Life, remains one of the greatest country albums of all-time, and songs like “Forever and Ever, Amen”, “On the Other Hand”, and “Three Wooden Crosses” were award-winning classics.

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The Judds

Put aside all of the tabloid drama and focus just on the music.  Those heavenly harmonies were reminiscent of the Carter Family, while Wynonna’s breathtaking vocals added a contemporary breadth and soulful twist to their pure country sound.  They were so commercially successful and critically acclaimed that the CMA had to change the rules of the Vocal Duo category so someone else could win Vocal Group.   Wynonna’s solo career following Naomi Judd’s retirement only further extended the legacy of this essential duo.

rickyskaggs

Ricky Skaggs

He’s often overlooked these days, as he’s made bluegrass his primary home.  But when he was a contemporary country star, he found a way to make bluegrass be contemporary country.  He was a central figure in making bluegrass music mainstream, making possible the future success of everyone from Alison Krauss & Union Station to the Dixie Chicks.   He’s managed to be both a pioneer of bluegrass music while also being a steadfast advocate for the bluegrass of old, and still scored eleven #1 country hits along the way and the CMA for Entertainer of the Year.  The Hall shouldn’t wait until he’s old enough for the Veterans Era.

patty_loveless

Patty Loveless

One of the few artists to successfully navigate both the eighties and the nineties on country radio, Patty Loveless is the most significant female artist of the Modern Era who is not yet inducted into the Hall of Fame.  Her acclaimed work for both MCA and Epic saw her develop from a singles artist with the good taste to cover Lucinda Williams, into an album artist that made critically acclaimed and surprisingly progressive traditional music.  Since fading from radio, she’s remained relevant with widely appreciated sets that delve deep into her mountain heritage, with her most recent set earning her a Grammy for Best Bluegrass Album.

Dwight Yoakam

Dwight Yoakam

Extraordinarily talented and unfailingly artistic, Dwight Yoakam remains one of the most significant country artists from the new traditionalist movement, though his traditionalism has always had a West Coast flair that was more Owens than Haggard.   Never that much of a radio favorite, Yoakam still managed to sell millions of records, being one of the few legitimate album artists of his time.   His most recent work, 3 Pears, made more year-end critics lists than any other country album in 2012.

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Trisha Yearwood

The only artist on this list who could never be described as a traditionalist, Trisha Yearwood has earned her place in the Hall of Fame through making more consistently excellent music over a longer period of time than any of her contemporaries.   She’s sold a ton of records and had more than her fair share of radio hits and industry awards, but her ultimate legacy will be having the best set of pipes and the best taste in songs, a combination that many artists – female and male – have never managed to pull off nearly as well as Yearwood has over the years.  That’s what having the voice of a Ronstadt and the song sense of a Harris will do for you.

The Veterans Era:

Hank Williams Jr

Hank Williams, Jr.

By a wide margin, Hank Jr. is the most commercially successful artist of the Veterans Era who is not yet in the Hall of Fame.  His noxious public statements in recent years have reinforced a notion that he’s little more than a Southern rock caricature, but his legacy is greater than Monday Night Football and regional xenophobia. At his peak, he made some of the most significant country rock that’s ever been made, crafting himself a distinguished place in country music history that is wholly separate from his legendary father.  In fact, there’s a better chance right now that a bar in America is singing along with “Family Tradition” than anything from his daddy’s catalog.

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Charlie Rich

An artist who was always years ahead of his time, he had a remarkable run of commercial success in the seventies, a period where the times finally caught up to him for a brief spell.  His bluesy style was embraced by the pop scene for a time, with his hit “The Most Beautiful Girl” being one of those rare country hits that also topped the Hot 100.   A veteran of the Sun Records label that produced Hall of Famers like Johnny Cash and Elvis Presley, Rich made the transition to Nashville while always keeping one foot grounded back in Memphis.

Jerry Reed

Jerry Reed

He was one of the most iconic stars of his time, thanks to his witty novelty records, stunning guitar prowess, and extensive appearances on film.  His songwriting success arrived earlier than his recording stardom, but once he got rolling, he was scoring million-selling hits that ran up the country and the pop charts.  He’s one of the few legends left that were truly unique and distinctive personalities who haven’t yet been inducted into the Hall of Fame.

tanya-tucker

Tanya Tucker

She’s still three years away from eligibility in this category, with 2017 being the first year she can claim 45 years on the scene.  But while the competition is fierce for those Modern Era slots, Tucker should be voted in the first year she’s eligible as a veteran.  Her haunting, gothic early records are still revelatory, and in the years that followed, her gravely voice brought grit and soul to a long string of country hits.  She was able to remain a force to be reckoned with in the first half of the nineties, a remarkable holdover from the early seventies in an era that had wiped away even the stars of the late eighties to make room for the next big things.

Jim Ed Brown

Jim Ed Brown

Another legend that remained relevant over many different eras of country music, Jim Ed Brown’s immortality on record had already been guaranteed in 1959, when his family group the Browns recorded “The Three Bells.”  That classic hit topped the country and pop charts for many weeks, and the Browns kept going through most of the sixties, joining the cast of the Grand Ole Opry a few years before disbanding.  Brown went on to a successful solo career with classics like “Pop a Top” and “Morning” reaching the top five.  Then he teamed with Helen Cornelius and had his biggest hits since his days with the Browns, most notably “I Don’t Want to Have to Marry You.”  At age eighty, he remains a force on the Opry and as a radio host, making him one of the longest-running personalities that the genre has ever seen.

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Single Review: Danielle Car, “Turn You On”

danielle_car

The Motor City might not exactly be known as a hotbed of country music talent, but it happens to be the home of one talented country voice by the name of Danielle Car.  She has yet to ink a record deal, but has been actively making the rounds and building a fan following with her independent efforts.

Car has continually cited California country legend Dwight Yoakam as a favorite artist as well as a primary musical influence, but you don’t have to read her bio to guess that – it’s clear from one listen of her current single “Turn You On.”  A driving Bakersfield-via-Detroit-style production puts the listener right in the middle of the dim lights, thick smoke, and loud, loud music as Car’s narrator attempts to drown her blues in liquor, only to stumble into a new romance quite accidentally.

But while the sonic stylings may be an open nod to the legends of California country, the fun, flirtatious melody and the irresistible energy in Car’s performance are anything but derivative.  What impresses most about “Turn You On” is the fact that Car honors her influences while still bringing plenty of herself to the project.  The Yoakam influence in particular is unmistakable, but “Turn You On” remains first and foremost a Danielle Car record.

Far from displaying the complacency that weighs down far too much of today’s country music, Car delivers a blast of spirited country fun that begs to be replayed over and over again.  The country radio listening experience would be a lot more engaging if today’s hits showed half as much personality.

Written by Danielle Car

Grade:  A

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iPod Check: Most Played Song by Twenty Country Artists

Since bringing back Recommend a Track proved so popular, I’m resurrecting another CU oldie but goodie: the iPod check.

I’ve only recently discovered the Most Played feature on iTunes, since it never had any relevance until iPods were large enough in memory to sync all of my music.   So going back to early 2011, I have a lengthy list of the songs I’ve played the most.

So today’s iP0d check:  List your most-played song from twenty different country artists.

You can access this info by going to your own Most Played list and adjusting the number of songs on it – I use 500 for mine – or you can just go to Music and sort by number of plays.  Or you can just pick twenty artists at random and list your most played song for each.  We’re easy here.  (This would also work in Spotify, from what I hear.)

Here’s my top twenty:

  1. Pam Tillis – Deep Down (89 plays)
  2. Keith Urban – I Told You So (81)
  3. Dixie Chicks – Long Time Gone (71)
  4. Taylor Swift – Mean (68)
  5. Trisha Yearwood – Where Are You Now (63)
  6. Patty Loveless – You Can Feel Bad (59)
  7. Emmylou Harris – Easy From Now On (55)
  8. Carrie Underwood – Undo It (50)
  9. Lori McKenna – Lorraine (50)
  10. Dwight Yoakam – Ain’t That Lonely Yet (46)
  11. Sara Evans – Rocking Horse (45)
  12. Sawyer Brown – Cafe on the Corner (45)
  13. Reba McEntire – The Fear of Being Alone (44)
  14. Shania Twain – Up! (43)
  15. Faith

    Hill – Stealing Kisses (41)

  16. Alan Jackson – So You Don’t Have to Love Me Anymore (40)
  17. Crystal Gayle – Why Have Your Left the One You Left Me For (39)
  18. George Strait – Meanwhile (39)
  19. Lee Ann Womack – I May Hate Myself in the Morning (39)
  20. Aaron Tippin – Whole Lotta Love on the Line (38)

I’m surprised that some of my most played artists overall, like Dolly Parton, Randy Travis, and Tim McGraw, don’t have that one big song that I play excessively.  Also, at least half of the songs above aren’t what I would call my favorite song by the given artist.  How about you?

 

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100 Greatest Men: #46. Dwight Yoakam

100 Greatest Men: The Complete List

One of the strongest voices of the New Traditionalist movement, Dwight Yoakam revitalized the Bakersfield sound as he shot to stardom in 1986.

Yoakam was born in Kentucky and raised in Ohio. Growing up, he pursued both music and acting, putting greater emphasis on the former after graduating from high school.   He moved to Nashville in the late seventies, but did not fit in well with the pop-flavored country music scene.

However, he did meet guitarist Pete Anderson while there, and the two headed off to Los Angeles, where Yoakam became popular in both rock and country clubs, thanks to his contemporary take on classic country and rockabilly sounds.

An independent EP caught the attention of Reprise Records, and Yoakam landed a deal with the label.   His debut LP, Guitars, Cadillacs, Etc., Etc., shot to the top of the charts upon its release in 1986.  It established Yoakam as a significant leader among the New Traditionalists, updating the classic sounds of California country legend Buck Owens, among others.

Yoakam would spend the next decade selling platinum and beyond, despite having less consistent radio support than contemporaries like Randy Travis and Ricky Van Shelton.   In addition to writing his own material, he smartly chose covers that worked for his style, including one that partnered him with idol Owens.  Their collaboration “Streets of Bakersfield” was Yoakam’s first #1 hit, and it brought Owens back to the top slot for the first time in sixteen years.

Yoakam reached his critical and commercial peak in 1993 with This Time, an album that featured three huge hits, sold more than three million copies, and earned him a Grammy for Best Male Country Vocal Performance.   While riding high on the success of the album, he began to pursue acting in Hollywood.  From this point on, he would split his attention between music and film.

As the nineties progressed, his album sales slowed but continued to earn him critical acclaim.  He had his last major hit with a cover of the Queen classic “Crazy Little Thing Called Love” in 1999.  Since then, he’s released well-received albums on independent labels, most recently his stellar tribute album, Dwight Sings Buck.   In 2007, the CMA honored Yoakam with its award side effects from diflucan for International Touring Artist, and in 2012, he received the prestigious Cliffie Stone Pioneer Award from the Academy of Country Music.

Yoakam has not released a new studio album since 2005, but he has re-signed with his former label home of Warner Bros., and is scheduled to release an album of new material this year.

Essential Singles:

  • Guitars, Cadillacs, 1986
  • Streets of Bakersfield (with Buck Owens), 1988
  • I Sang Dixie, 1988
  • Suspicious Minds, 1992
  • Ain’t That Lonely Yet, 1993
  • A Thousand Miles From Nowhere, 1993
  • Fast as You, 1993
  • Things Change, 1998

Essential Albums:

  • Guitars, Cadillacs, Etc., Etc., 1986
  • Buenas Noches From a Lonely Room, 1988
  • If There was a Way, 1990
  • This Time, 1993
  • Gone, 1995
  • dwightyoakamacoustic.net, 2000

Next:  #45. ?

Previous: #47. Rodney Crowell

100 Greatest Men: The Complete List

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Twelve Songs of Christmas: Day Seven

Song #7: I’ll Be Home For Christmas

Leeann’s Pick: Dwight Yoakam

To be honest, this isn’t actually one of my favorite Christmas songs. Dwight Yoakam’s rhythmic version, however, is just funky enough for me to focus without getting bored.

Sam’s Pick: Raul Malo

If there is anyone in Nashville who can wring out every drop of emotion from this most bittersweet of Christmas songs, it is Raul Malo. Armed with just his guitar and his voice, Malo’s rendition is guaranteed to touch anyone who’s spending the holidays apart from loved ones. This video was recorded as a tribute to soldiers returning from the war in Iraq, making the song even more poignant.

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Twelve Songs of Christmas: Day One

Along with all the other traditions that come with Christmas time – watching your favorite TV specials, getting together with family on Christmas Day, wondering how you ever lived without a pre-lit Christmas tree -  one of the best ones involves breaking out the collection of Christmas music.

As a kid, it meant that the Bing Crosby and The Chipmunks Christmas albums make their way out of the buffet draw and take up a month-long residence on my mom’s stereo. Now, it means flipping over to my Christmas songs playlist on iTunes, where Patty Loveless, Dwight Yoakam and The Chieftains all are a part of the family’s Christmas soundtrack.

Seeing as how Christmas has more beloved songs than any other holiday around, Leeann Ward and I have put together a list of some of their favorite renditions of classic holiday songs. Feel free to add your own personal favorites in the comments section.

Song #1: Twelve Days of Christmas

Leeann: John Denver and the Muppets

Not a particularly high brow pick, but neither is this Christmas classic anyway. The juxtaposition of Denver’s straight delivery and the Muppets’ goofiness is especially delightful. What’s more, the way Miss Piggy revels in making the typically drawn out “Five golden rings” line even longer than usual is somehow endearing.

Sam: Bela Fleck & the Flecktones

As fun as the song is, even the merriest of people get a little tired of it by the time it gets around to the leaping lords and the dancing ladies. Fleck and company decide to ratchet up the degree of difficulty by performing each day in a different key and a different time signature — AND include some Tuvan throat singing to boot.

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