Ask them to sing “The Chair.” There isn’t a hat act out there who could measure up to Strait’s delivery of this song.
It may not have the emotional heft of George Jones’ “He Stopped Loving Her Today” or Porter Wagoner’s “Green, Green Grass of Home,” but Strait’s delivery shares an important commonality with those classics. The song remains fresh and interesting even after you know the twist at the end.
A good old-fashioned cheating song, from the days when songs such as this were very much in fashion.
It’s not as interesting or deeply layered as Barbara Mandrell’s “The Midnight Oil”, released the following year. But it’s a more believable pairing than most of the duets they sent to radio in this time period.
Parton’s sympathetic lyrical portrait of a southern preacher deftly weaves classic gospel songs into its lyrics. There was an old-timey quality to her duets with Wagoner anyway, so the subject matter lends itself quite well to the old-fashioned production.
By now, we’re at the point where Parton’s gift as a writer has transcended any form of normalcy.
This yodel-laden cover of an early country music standard gave Parton her highest charting single to date, with or without Porter.
She sings the fire out of it, and it’s easy to imagine it standing out sharply from everything else on the radio in 1970.
But as the new single included on a compilation of her best singles and album tracks to date, it sounds trite. That’s the inevitable result of writing “My Blue Ridge Mountain Boy”, “Just Because I’m a Woman”, and “Down From Dover.”
Originally a hit for George Jones as “A Girl I Used to Know”, their effective cover gave Porter & Dolly their second top five hit.
The harmonies are beautiful, and the steel guitar works wonders. You can hear Parton growing as a vocalist during the moments that Wagoner gets out of the way, and when Parton takes a back seat, it’s clear that Wagoner is in his singing prime.
The song’s become a standard, so it feels odd to nitpick over its flaws. But I have to say that what holds this record back is the questionable horn section. Thankfully, they only disrupt the song at its opening and its closing.
Far too polite and matronly to make for an interesting country record.
“Always, Always” plays more like an Episcopalian church hymn, with two singers pledging their love so antiseptically that they might as well be promising to pick up milk and eggs on the way home from work.