In 1985, four country music rebels/icons came together to form a larger-than-life group that people wouldn’t have even dared dream about before their actual union. Johnny Cash, Kris Kristofferson, Waylon Jennings and Willie Nelson formed the country super group, The Highwaymen. The four highly revered friends recorded three albums worth of material, much to the delight of the astonished public. While all of the members were extremely successful in their own rights, their potential egos were set aside to make music as a cohesive unit. They sounded like a polished group, not just some people thrown together as a marketing gimmick.
Then, in 1988, the rock world hit the jackpot when superstars George Harrison, Tom Petty, Roy Orbison, Bob Dylan and Jeff Lynne formed The Traveling Wilburys. Again, these immensely famous, talented and respected people formed a super group that still seems too good to be true to this day. Their unbelievable union created two albums that were repackaged in 2007 with bonus material, which sold surprisingly well for a reissue. Like The Highwaymen, their voices blended amazingly well together as if they were meant to be a group.
Dolly Parton has been a part of two dynamic trios: one with Linda Rhonstadt and Emmylou Harris and the other with Loretta Lynn and Tammy Wynette. Both trios consisted of women equally as talented as the super groups previously discussed, which also provided us with excellent albums as a result.
And of course, anyone who has read anything that I’ve written in the past year or so should instinctively know that my pet super group is The Notorious Cherry Bombs, which was comprised of Rodney Crowell, Vince Gill, Tony Brown, Hank Devito, Richard Bennett, Michael Rhodes, John Hobbs and Eddie Bayers.
As I think of the competitive climate of the music industry today, I’m discouraged to think that such super groups would be next to impossible to unite anymore. Record label disputes prevented Tracy Lawrence’s collaboration with Kenny Chesney and Tim McGraw to be officially released to radio. Likewise, Reba McEntire had to replace Kenny Chesney’s vocals with lesser known artist, Skip Ewing, in order to release “Every Other Weekend” to radio. And these were only disputes over single songs, not even an entire album.
In true essay style form: Without considering record company politics, if you were able to create your own super group who could make at least one album, who would be the members? What would you name the group? Explain.
There is really no new way to pontificate on the fascinating longevity of George Strait’s career. Many, including myself, have speculated regarding the many possible reasons behind his staying power, but it is more than likely that many of the factors that we have already considered could be easily applied to other artists with lesser careers to show for it. Therefore, the consensus that can be agreed upon by most everyone is that George Strait is consistent. In the last three decades, without being loud or splashy in any way, Strait has consistently remained a vibrant country music artist, both on the charts and in concert sales. As a result, he is one of the most respected, if not intriguing, artists in the business.
On May 27, the Academy of Country Music honored George Strait as their Artist of the Decade in a two-hour CBS special. The show consisted of many of today’s biggest artists paying homage to Strait by singing the songs of the Man of Honor.
Unlike most tribute shows, this show moved along at a reasonably fast clip with few over-dramatic or slick moments to weigh it down, which was highly appropriate considering the man who was being honored that night.
The show opened with a rousing version of Strait’s Cajun flavored “Adalida” ably performed by Sugarland. Jennifer Nettle’s exaggerated drawl, while very different from Strait’s laid back vocals, gave the song energy and seemed to be a wise way to invigorate the crowd. Other energetic performances included a rocked-up version of “All My Exes Live in Texas” by Jack Ingram, which was fun but lacked the whimsical charm of Strait’s western swing flavored interpretation. Alan Jackson did a faithful steel laden cover of “The Fireman”, which is always sung at events such as these, though it’s certainly not one of Strait’s most interesting classics.
In probably one of the most disappointing performances of the night, Dierks Bentley, who is typically an intriguing vocalist, offered a weak and strained “Blue Clear Sky”, which, sadly, happens to be one of my favorite Strait songs. John Rich did not fare much better with his lifeless, uninspired rendering of one of Strait’s most revered hits, “Amarillo by Morning.” Instead of sounding like a professional, he more easily fit in with the Nashville Star contestants that he judged last summer who, incidentally, only sounded like decent karaoke singers at their best. In the not-as-bad-as-Rich-or-Bentley-but-still-not-very-memorable category was Brooks & Dunn. Their cover of “The Cowboy Rides Away” was fine, but it also lacked Strait’s easy charisma.
While most of this tribute show stuck rather closely to Strait’s own interpretations, there were a couple performances that tried to change things up a bit. As mentioned earlier, Jack Ingram added light rock to “All My Exes Live in Texas” and the other innovator was Jamie Foxx with a soulful cover of “You Look So Good in Love.” As someone who cannot fully appreciate R&B, it was difficult for me to get into his performance, though I could at least tell it was solid. Along with the R&B slant, Foxx changed Strait’s original regret filled monologue to an amusing “what does he got that I don’t?” diatribe. And we won’t even get into Foxx’s insistence that Strait’s singing is “sexy.”
As a diversion to the songs of George Strait, the past Artists of the Decade were honored throughout the show as well. Faith Hill did a respectable cover of Loretta Lynn’s “You Ain’t Woman Enough”, Martina McBride aptly covered Garth Brook’s “The Dance” and Montgomery Gentry rocked out with Alabama’s “Mountain Music.” One of the best performances of the evening, however, was Keith Urban’s tribute to Marty Robbins, which was in the form of a fabulous medley of three of Robbins’ beloved hits, including “Singing the Blues” (one of my favorite Robbins songs) “El Paso” and “A White Sport Coat (And A Pink Carnation)” (my all time favorite Robbins song). Urban’s performance proved that he is a master at singing country music, which only left me longing even more for hints of country sounds to show up on his most recent albums.
The person who was involved in the best performances of the show was Lee Ann Womack. With Jamey Johnson providing the speaking parts of “Give It Away”, Womack gave the female perspective of the song. The two voices melded perfectly together to reveal a possible duet partnership for the future that would surely be welcomed by many. In addition to her duet with Johnson, Womack sang a surprise song for Strait that was specifically written for the night called “Stand There And Sing.” While it would not necessarily be a standout song in a non-Strait centric environment, it was a moving tribute to George Strait’s simple charismatic entertaining style of “just standing there and singing”, which is something that he’s often criticized for doing.
As is supposedly the tradition of the Academy’s tribute shows, the previous Artist of the Decade passes the torch onto the newly anointed artist, which is what Garth Brooks did for George Strait. Brooks appropriately acknowledged the irony of this act, as he regaled the audience with the story of what inspired him to become a country music singer/entertainer, which just happened to include George Strait. After “the torch” was passed, George Strait showed us all why he so richly deserved the honor. He humbly thanked and praised the show’s participants for their contributions and for giving up their precious time to pay tribute to him. Then he sang “Ocean Front Property” and ended with “Troubadour” with the help of the entire cast of the show.
After a season of awards shows that have been disappointing at best, this tribute show was happily refreshing. Because they had great songs to work with from a man who can’t help but respected, the show was bound to be an easy success. Much like George Strait himself, the show was laid back without feeling stale. Everyone seemed genuinely honored to be there, even if some of their performances missed the mark here and there.
At times, I admittedly take George Strait for granted. I all too often forget what a huge fan of his I was in the nineties when I first entered the world of country music. Fortunately though, I spend more time in awe of his thirty year career and the grace with which he conducts himself. In “Troubadour” Strait concluded by singing, “I was a young troubadour, when I rode in on a song./And I’ll be an old troubadour when I’m gone“, which he followed by saying, “Not anytime soon, I hope.”
As April is one of the odd months that has five Wednesdays, I thought I'd take a break from Country Quizzin' for this week and try out a new discussion-thing.
Given the current mainstream climate, it's been a while since I've felt able to heap unfettered praise on a piece of country music here, and that frankly bums me out a bit. So in the spirit of un-bumming, I'm going to share ten country songs from the 70's on that I find absolutely flawless – my “Perfect 10″ – and I invite you to do the same. It's a simple enough concept – you could just think of it as Recommend a Track times 10 plus a punny name.
Still, I suspect the outcome could be really interesting if everybody puts in the effort to pick ten songs that they consider the absolute cream of the crop. We're talking all-time best material here, whatever “all-time” happens to mean to you. You don't have to rank them, and they don't have to be your definitive top ten; I sure wouldn't be able to produce that list without a lot more thought. They just have to be up there – the kind of songs that you love fully and deeply, that still engage and surprise you after countless listens.
Most of the ten I've picked below are pretty well-known. Feel free to go as popular or as obscure as you like – great music is great music!
In chronological order:
Bobbie Gentry, “Ode to Billie Joe”
I've never heard anything else like this. Even if you ignore the compelling Southern Gothic mystery the song serves up in just over four minutes, there's so much magic in the writing itself. The intense attention to detail doesn't just paint a vivid picture; it serves an actual literary kind of purpose, illustrating the insensitivity of the narrator's family. I miss songs with subtexts.
Loretta Lynn, “Fist City”
“Fist City” is in the inner circle of big Loretta hits, but it usually has its spotlight stolen by more topically revolutionary numbers like “Don't Come Home A Drinkin'” or “The Pill.” But no longer! This saucy prelude to a catfight could be her most tightly-written anthem ever, with a killer hook and excellent one-liners all around. “The man I love, when he picks up trash, he puts it in a garbage can. And that's what you look like to me.” Damn!
John Denver, “Take Me Home, Country Roads”
Call it musical comfort food. Denver's stuff was never good for extremists: the hardcore folkies found it too simplistic and starry-eyed to be intellectually palatable, while the hardcore country fans found it too poppy to have any hillbilly integrity. If you ask me, those arguments were more about context than substance. This single seamlessly blends its folk, pop and country sensibilities, and Denver's soaring voice can sell this kind of romanticized lyric all day.
Jerry Jeff Walker, “Gettin' By”
Another helping of comfort food. This here's a take-it-easy anthem with a similar vibe to “Don't Worry, Be Happy,” but with less potential to annoy you.
Merle Haggard, “If We Make It Through December”
The kind of understated song that speaks for itself and doesn't try to sound more important than it really is, which is charming, since this song's sentiment is actually more significant than a lot of songs which employ a more dramatic approach. Haggard's writing here is also proof that specificity of storytelling often makes a song that much more relatable.
Alabama, “Dixieland Delight”
What can I say; I love the feel-good anthems. I have to admit that I mostly included this because I wanted to give the 80's at least one song and it was the first thing that came to mind, so it may be a tier lower than some of the others in terms of my love. But I don't think these guys get enough credit for the legitimately good country-rock stuff they did.
Mary Chapin Carpenter, “Why Walk When You Can Fly”
Easily the most obscure thing on this list, this gorgeous album opener
was released as a single and peaked at #45. I first heard this while driving to Kroger at night and just about pulled over so I could listen properly.
Dixie Chicks, “Long Time Gone”
If there is any justice whatsoever in the country music world, historians will remind the public hung up on “the incident” that the Chicks also produced some of the best singles of their time, especially with this Darrell Scott-penned beaut. What a masterwork.
Josh Turner, “Long Black Train”
I reached a point in life last year where my religious beliefs just seemed to fall out from underneath me, and I've been pretty much undecided on that front since. Incredibly, it's only made me appreciate Turner's spiritual beckon even more, which is a testament, I think, to how substantially it presents its point-of-view. And gosh, does it ever sound good. Josh oughta crack open that Hank Williams box set more often.
Nickel Creek, “This Side”
This was one of the key songs that hooked me for good into country music, so I had to include it. The writing is more abstract pop-rock than anything else, but the pulsating instrumentation is so sweet that you're a fool if you care one way or the other. Listen to this with a good pair of headphones and hear the world unfold.
The following article is by guest contributor and Country Universe commenter, Craig R.
My Start in Country Music
By Craig Ross
My memories only started collecting at age four. That year, 1969, my uncle was shot and seriously wounded in Vietnam. I had just started eating hamburgers for the first time. During the summer I saw Neil Armstrong walk on the moon on my parent’s bedroom black and white television set. And I knew the entire lyrics to only two songs, which I sang over and over again: “Raindrops Keep Falling on My Head” by B.J Thomas and “King of the Road” by the great Roger Miller. But growing up in a Baltimore suburb in a middle class, college educated black American home placed me in a rare position. My cousins listened to Motown, R&B, and some pop. The adults listened mainly to jazz. My parents were open to all types of music, and the one I fell in love with was country music.
In 1969 they still called it country-western music. And at that point in time it seemed to be everywhere. On the radio they played Roger Miller, Johnny Cash, Glen Campbell, and Eddy Arnold on pop stations. On television country music was coming into its own. In 1969 alone we watched Hee-Haw, The Porter Waggoner Show, The Johnny Cash Show and The Glen Campbell Goodtime Hour. The first time I ever saw the great Louis Armstrong was on Cash’s show.
And of course, every sitcom seemed to be about the country living in 1969: Green Acres, Petticoat Junction, The Beverly Hillbillies and Mayberry RFD. It may have been the perfect time to fall for country music. At four I liked the finger snapping of “King of the Road”, the cowboy hats, and the pretty lady singers in their wigs and gowns on television. I wasn’t dreaming of being a bull rider, a farmer or honky- tonk singer. But music defines you in some way. And at forty-four I realize now that I was being converted to a sound that would anchor the rest of my life. Country spoke to me in way no other music of my youth did. The very nature of the raw storytelling was addictive. Truth undiluted, unfiltered, uncalculated – can be a drug like no other.
I found this video recently on YouTube. It’s a chronological collection of all of Madonna’s music videos from the past 26 years. I’ve mentioned a few times that Madonna is one of my favorite artists. She’s definitely the best live performer I’ve ever seen, and she’s one of my favorite songwriters. It’s amazing to watch and listen to her music evolve and change with time:
You may be wondering how this is related to country music, and the answer isn’t the line dancing that she does at the 20:47 mark.
It just has me thinking about how so few country artists actually evolve over time, even some of those who are among the greatest in history. Think about how little Loretta Lynn’s sound changed over the two decades she was a radio staple. Brooks & Dunn have made quite a few albums since 1991, but you could take just about any track they’ve done and place it on a different album without it sounding out of place.
The same is true for Alan Jackson, who has stepped out of his comfort zone exactly once, and he was crucified for it among traditional country fans. So after the creatively adventurous Like Red For a Rose, he went right back into his old groove with Good Time, and was promptly rewarded for it.
The same thing happened to Lee Ann Womack, who was ostracized for Something Worth Leaving Behind. The material was as solid as anything else that she’s done, but it wasn’t until she went back to hardcore country that she showered with praise.
I tend to prefer artists who try something new with each album. I remember Pam Tillis doing interviews for All of This Love. She talked about “The River and the Highway,” saying that she wouldn’t have put it on Sweetheart’s Dance because it would be out of place, but that on the new album, it was the centerpiece.
I’m always curious to hear what Willie Nelson and Emmylou Harris will do next, since it always seems to be different from what they’ve done before. At the very least, I think an artist’s evolution over time should be audibly discernible.
What about all of you? Do you prefer artists who change it up? Which artists make for the most interesting listening when their work is played chronologically?
While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories.
This is a look back at the Best Female Country Vocal Performance category. It was first awarded in 1965, an included single competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.
I’ve often made the case that female artists were making the best music in the 1990s, and the Grammys did a great job nominating songs and albums that were ignored at the CMA and ACM awards, which is not surprising, given that those shows have so few categories that are actually for songs and albums.
As usual, we start with a look at this year’s nominees and work our way back.
Martina McBride, “For These Times”
LeAnn Rimes, “What I Cannot Change”
Carrie Underwood, “Last Name”
Lee Ann Womack, “Last Call”
Trisha Yearwood, “This is Me You’re Talking To”
This year’s lineup includes three former winners and two women looking for their first victory in this category. Martina McBride is in the running for the eighth time in fifteen years, and with one of her more understated performances. Lee Ann Womack returns for a fifth time, having received a nomination for the lead single of her five most recent albums. Both ladies turned in good performances here, but they’ve been overlooked for records bigger and better, so they’re not likely to snap their losing streaks this time around.
As for the previous winners, LeAnn Rimes earned her third consecutive nod, bringing her total to five in this category. She hasn’t won since 1997, when she took home the award for “Blue.” If enough voters hear “What I Cannot Change,” she might have a shot, though the only version of the song that’s been a legitimate hit has been the dance remix.
Trisha Yearwood won in 1998 for “How Do I Live,” her only victory to date. But she’s earned her tenth nomination for “This is Me You’re Talking To,” which is arguably her strongest vocal performance of the ten. Like Rimes, the challenge is getting enough voters to listen to it, but she’s never been more deserving of the victory than she is this year.
Still, the favorite remains Carrie Underwood. She’s quickly become a favorite with Grammy voters, having won this category two years running, along with Best New Artist in 2007. She’s the nominee with the highest profile, and while “Last Name” is nowhere near the same league of “Jesus, Take the Wheel” and “Before He Cheats” in terms of artistry or impact, it was a big hit, something that the other four entries cannot claim.
If Underwood was nominated for “Just a Dream,” she’d have a mortal lock on this one. But the strength of the other nominees will at least keep this race competitive. If Underwood prevails, Grammy queen Alison Krauss better watch her back.
Alison Krauss, “Simple Love”
Miranda Lambert, “Famous in a Small Town”
LeAnn Rimes, “Nothin’ Better to Do”
Carrie Underwood, “Before He Cheats”
Trisha Yearwood, “Heaven, Heartache and the Power of Love”
Looking at this lineup, you’d think that it was a golden age of female country artists, something akin to the mid-nineties. In reality, only one of these songs was a big radio hit, though three others managed to go top twenty. In terms of quality, however, this is the most consistent and thoroughly wonderful set of nominees this category has seen this century. You’d have to go back to exactly 1999 to find a better lineup.
In a year when any winner would have been deserving, Underwood won for “Before He Cheats,” her second straight win for a signature mega-hit from her debut album.
A look back at the previous winners and nominees of the Best Country Album Grammy, updated to include the 2009 contenders.
The Grammys have been doing better in the country categories since they reintroduced the Best Country Album category in 1995, which had only been in existence for two years in the 1960s. Prior to 1995, albums and singles were both eligible in the vocalist categories, so full albums would compete against single tracks in Best Male Country Vocal Performance, for example.
Looking over the history of this fairly young category, you can see trends emerge, with certain acts clearly being favorites of NARAS. You see the same trend with the CMAs, just with different people. What is clear with the Grammys is that radio and retail success will only carry you so far. For awards that are supposed to be based on artistic merit, that’s how it should be.
As with the CMA flashbacks, we’ll begin with a look at this year’s nominees, then discuss previous year’s in reverse chronological order. Winners are in bold.
Be sure to drop by My Kind of Country and vote in their Best Country Album poll. Let your preference be known!
Jamey Johnson, That Lonesome Song
Patty Loveless, Sleepless Nights
George Strait, Troubadour
Randy Travis, Around the Bend
Trisha Yearwood, Heaven, Heartache and the Power of Love
Four veterans and one newcomer vie for this year’s Best Country Album, and it’s a wide-open race with no obvious favorite. The critically acclaimed breakthrough album of Jamey Johnson could earn him his first Grammy. The legendary George Strait would like to start a Grammy collection of his own. Like fellow nominee Patty Loveless, this is his third nomination for this award. While Loveless has also yet to win this one, she does have a Grammy already, for her contributions to the multi-artist collaboration “Same Old Train.”
Randy Travis is a real contender here; five of his previous albums have won Grammys. Two of them (Always & Forever, Old 8×10) won in the Best Male Country Vocal Performance category, back when albums and singles competed with each other in that race. And while this is his first nomination for Best Country Album, he was won Best Southern, Country, or Bluegrass Gospel Album three times, for Glory Train (2007), Worship & Faith (2005) and Rise and Shine (2004.)
While Vince Gill broke the all-female trend in this category last year, he was nominated in an all-male field. If the trend begins again this year, this will be a battle between Loveless and Trisha Yearwood. The latter’s Heaven, Heartache and the Power of Love is arguably the strongest album in this category, and while Yearwood won three Grammys in the nineties, she has never won Best Country Album, despite earning more nominations than any other artist in the history of the category – Heartache is her eighth set to contend for the trophy. She’s beyond overdue, but her competition is formidable.
Dierks Bentley, Long Trip Alone
Vince Gill, These Days
Tim McGraw, Let it Go
Brad Paisley, 5th Gear
George Strait, It Just Comes Natural
With the exception of Shania Twain’s Come On Over, no album that has also been nominated for the general Album of the Year race has failed to win Best Country Album. So it was no surprise when Vince Gill picked up the trophy for his four-disc opus These Days. In his acceptance speech, he good-naturedly ribbed Kanye West, providing one of the evening’s brightest moments.
Dixie Chicks, Taking the Long Way
Alan Jackson, Like Red On a Rose
Little Big Town, The Road to Here
Willie Nelson, You Don’t Know Me: The Songs of Cindy Walker
Josh Turner, Your Man
The Chicks became the first artists in Grammy history to win four genre Best Album awards, breaking their tie with Eminem, who has won three Best Rap Album trophies. This was one of five trophies they took home at the February 2007 ceremony, and the album returned to #1 on the country chart and back to the pop top ten on the strength of those victories.
We’re making iPod Check a weekly discussion feature this year, with a bit of a different spin each week.
This week, check out the “Country” genre on your music list and post the first ten songs that play. Here are my ten, out of 5,626 in total:
1. k.d. lang, “Pullin’ Back the Reins”
2. Johnny Cash, “I’m Going to Memphis”
3. Sugarland, “Already Gone”
4. Dolly Parton, “Don’t Let Me Cross Over”
5. Trisha Yearwood, “Nothin’ About You is Good For Me”
6. Carlene Carter, “Two Sides to Every Woman”
7. Johnny Cash, “Thirteen”
8. Kenny Rogers, “I Don’t Call Him Daddy”
9. Emmylou Harris, “Tennessee Waltz”
10. Loretta Lynn, “I Believe”
Building a music collection used to be a far more difficult thing, a dogged hunt through record stores and mail order catalogs, hoping to find what you were looking for. The advent of the internet made things easier, but it wasn’t until music could be downloaded digitally that a deep music collection could be built with far less effort.
However, all of this available music can be overwhelming, especially when you’re trying to get a handle on the catalog of an established artist. Country Universe is here to help. Our Buyer’s Guides will walk you through the music that is digitally available for a given artist, starting with the essential purchases for new listeners, and working through the entire digital catalog until even the completist fan will be sated. You can also sample each album in its entirety, and purchase any song or album that you like through Amazon’s MP3 store.
Our first Buyer’s Guide is for our artist of the month, Dolly Parton. Look for many more to come in the new year.
Starting Your Collection
Dolly Parton’s catalog is quite the labyrinth. Thankfully, there are several compilations available that are an excellent value, offering twenty tracks each for less than ten dollars. Casual fans can just pick up the first set, but serious country fans should skip the first and buy the other three.
Ultimate Dolly Parton
This collection is all that the casual fan will ever need, with twenty hits included for just under eight bucks. All of her big crossover hits are here, like “Islands in the Stream”, “9 to 5″ and “Here You Come Again.” Also included are her country classics “Jolene”, “Coat of Many Colors” and the original recording of “I Will Always Love You.” It’s a bit too broad for studious fans of country music, but if you just want the big hits, they’re all here.
The Essential Dolly Parton, Volume Two
RCA has yet to issue a definitive box set for Parton, but their three Essential releases in the nineties are collectively effective in covering her tenure with the label. This is the strongest of the three sets, focusing on her sixties and seventies material. In addition to the big hits, including the original recording of “I Will Always Love You”, you also get lesser-known greats like “Touch Your Woman”, “Mule Skinner Blues” and “The Seeker.” Her transformation from mountain singer to pop sensation is captured here, as the set includes the first wave of her pop hits, too.
The Essential Dolly Parton One: I Will Always Love You
Even though it was released first, this set focuses on the latter years of Parton’s tenure, with nearly all of the cuts being released in the eighties. The rest of the big pop hits are here, like “9 to 5″ and “Islands in the Stream”, along with some forgotten gems, most notably “Single Women”, “God Won’t Get You” and “Tennessee Homesick Blues.” Also of note is her recording of “To Daddy”, which she chose not to release when Emmylou Harris expressed interest in recording it instead.
The Essential Porter Wagoner & Dolly Parton
Although they both are Hall of Famers, you can’t effectively tell the story of either Porter Wagoner or Dolly Parton without discussing their work together. They are the most successful collaborators in country music history, and nearly all of their hits are collected here. Classics like “Making Plans” and “Just Someone I Used To Know” are essential, as are “Burning the Midnight Oil” and “The Last Thing on My Mind.”
Building Your Collection
For all three women involved – Dolly Parton, Linda Ronstadt and Emmylou Harris – this was a career landmark, which brought them wide critical acclaim and huge commercial success. The harmonies are exquisite throughout, but the best moments are “The Pain of Loving You”, “Wildflowers” and “Telling Me Lies.”
Tonight, I turn over our discussion to one of our readers. He suggested I write about this topic myself, but his suggestions were already far better than anything that I would have come up with. Thankfully, he was willing to share them with all of you!
Guest Post by Country Universe reader Jim Bagley:
About a month ago, I discovered a website http://feedback.legacyrecordings.com/ where folks can request reissues/retrospectives of artists who are part of the Sony/BMG Catalog. When you sign up, you are also given 10 votes to show which suggested product you would like to see reissued. Except for Johnny Cash, the suggested product has been decidedly uncountry and I think that the readership at Country Universe could change that for the better.
Legacy does indeed review the board and some of the suggestions – a Lou Rawls retrospective for instance – have then been subsequently released.
Here are the four listings that I have recently added:
The Essential Tammy Wynette – with only 14 tracks – was probably the worst essential set to date. Even the Tammy three disc set Tears of Fire left off many of her 40-plus top ten solo hits. Please release a two-disc set set of Tammy’s solo hits, including all top ten efforts. Many like “The Wonders You Perform,” “Reach Out Your Hand,” and “(You Make Me Want To Be) A Mother” are always left off Tammy sets. I would include the David Houston and Mark Gray hit collaborations, but please leave off the George Jones duets which have been reissued to death (and take up valuable room on other Tammy retrospectives).
Dolly Parton full career box set (4-5 discs)
Sony-BMG has control of nearly all of Dolly’s career, so why hasn’t a box set been done on her? From the mid-60s Monument singles (Dumb Blonde, Something Fishy), through her fascinating late ’60s RCA work Just Because I’m A Woman, Daddy Come and Get Me), the hit RCA years (Joshua through Think About Love), the late ’80s, early ’90s Columbia stint (Yellow Roses, Rockin’ Years), her collaboration with Loretta Lynn and Tammy Wynette, and finally, the turn of the century bluegrass gems on Sugar Hill. It would take 100-125 tracks to get it right, but Dolly deserves this deluxe treatment.
Bobby Bare three disc career box set
Bobby Bare charted 60 singles for RCA and Columbia from 1962 through 1983. It would be nice to have a box set which captured all of these hits (the past Columbia retrospectives are particularly incomplete), plus his first hit “All-American Boy” and his six early-’70s singles for Mercury. Bobby deserves it!
Connie Smith two-disc set of all of her hits
Connie Smith charted 48 singles between 1964 and 1985. All of them were for labels that are now under the Sony-BMG umbrella (RCA, Columbia, Monument, Epic). Please put together one package of ALL of her hits that does justice to Connie’s legacy.
Anyone who recorded for Columbia, Epic, Monument, RCA, or Arista is eligible for reissue. I suggested vintage artists for whom I wanted larger repackaging. But it would also be great to see an Alan Jackson box set; 20-track best-of sets for Pam Tillis, Collin Raye, and Lorrie Morgan; 16 Biggest Hits on BlackHawk, Doug Stone, and Ty Herndon, and even 10-track Super Hits for Ricochet and Wade Hayes. Country Universe readers have a wealth of knowledge and music favorites, and it would be great to see their “wish lists” and votes represented on the site.