Posts Tagged ‘Randy Rogers’

Album Review: Gary Nicholson, Texas Songbook

Wednesday, June 22nd, 2011

Gary Nicholson
Texas Songbook


Written by Bob Losche

Texas Songbook is the latest album from country/blues singer/songwriter Gary Nicholson, a recent inductee into the Texas Songwriters Hall of Fame. Nicholson is best known for writing familiar radio hits such as”The Trouble With the Truth” (Patty Loveless), “One More Last Chance” (Vince Gill), “Squeeze Me In” (Garth Brooks/Trisha Yearwood), and “She Couldn’t Change Me” (Montgomery Gentry), among many others.

Although he left Texas for Nashville over 30 years ago, Nicholson remains a Texan at heart, and all 13 songs on Texas Songbook have a Texas connection.

Produced by Gary and recorded in Austin at Asleep at the Wheel’s Bismeaux Records, the album features Texas musicians and co-writers, the latter group including the likes of Lee Roy Parnell, Delbert McClinton, Guy Clark and Allen Shamblin among others. There’s plenty of fiddle and steel guitar as well as effective use of the harmonica and accordion in this collection of swinging and two-stepping, dance hall and honky-tonk style music.

Many country music fans may already be familiar with some of the songs on this album: “Fallin’ & Flyin’ “, written with the late Stephen Bruton and performed by Jeff Bridges, was featured in the movie “Crazy Heart.” The island flavored “Live, Laugh, Love” was written with Allen Shamblin and previously recorded by Clay Walker on his 1999 album of the same title. It’s a “seize the moment” song.

Previously recorded by George Strait, Delbert McClinton and Del McCoury, “Same Kind of Crazy” written with Delbert McClinton, gets things rocking. McClinton plays harmonica with backing vocals by Randy Rogers. The man is smitten because his new girl is the same kind of crazy as he is. The third verse begins, “It’s getting hard to use a ladder ’cause I keep climbing down just to kiss her” and concludes with the best line of the song, “she talks in her sleep but she always gets my name right.”

My favorite track on the album is “Talkin’ Texan”, which was written with Jon Randall Stewart. I especially love the chorus: “there’s nothin’ he ain’t seen or done,/ he’s always got the biggest one/ he ain’t lyin’, he’s just talkin’ Texan”

Another co-write with Jon Randall, along with Guy Clark, is “Some Days You Write the Song”, which was the title song of Clark’s 2009 Grammy nominated record, Some Days the Song Writes You. Musing on the mystery of the song writing process, Nicholson sings, “Somedays you write the song, some days the song writes you.”

The cool sounding “Messin’ with My Woman”, written with John Hadley and Seth Walker, is a swinging tune with attitude. “Don’t be messin’ with my woman, when I’m out on the road, let my song be your warning, you can’t say you ain’t been told.” If the guy does mess with his woman, he’s “gonna take a whole lot of doctors to put you back the way you were”, with background singers Ray Benson and Jason Roberts of Asleep at the Wheel chiming in “they’d never get it right, they’d never get it right”.

The well executed fiddle and steel guitar filled “Texas Weather”, written with Lee Roy Parnell, opens the album by comparing the singer’s relationship with his woman to the volatile weather of his home state. He contrasts “angry voices, bitter cold and tender words that warm the soul”. “We know if we only wait a while we’ll see that rainbow smile”. The theme is a bit predictable. It reminds me of the saying, “If you don’t like the weather in (fill in the blank), wait 5 minutes.”

With a swinging melody that I love, “She Feels Like Texas” was written with Kimmie Rhodes. The girl’s “in a lone star state of mind, everywhere she goes.” Whenever she sees a foreign tourist attraction, she compares it to something from Texas, including calling the Eiffel Tower “the biggest oil rig I believe I’ve ever seen”.

“A Woman in Texas, A Woman in Tennessee” is a solo writing effort by Gary that he calls “a true story I made up”. Both women wondered where he was half the time. The situation gets more complicated as the song progresses: children with both, an accidental meeting of the families and the revelation of another family in Louisiana.

“Listen to Willie” is a tribute to the Redheaded Stranger written with Kevin Welch. Except for the chorus, the lyrics consist essentially of Willie Nelson song titles: “You’ve always been a ‘good hearted woman’, and I’d hate to see your ‘blue eyes cryin’ in the rain’. Other titles cleverly connected to compose the verses include “funny how time slips away”, “you were always on my mind”, “night life”, “on the road again”, “crazy” and about a half dozen others. Add a star if you’re a Willie fan. It is clever but after a few listens, I got tired of it

“Bless ‘em All”, written solely by Gary, bless him, features the gospel singing McCrary Sisters. Bless them too. The song mentions about a dozen religions, bless ‘em all, and concludes that “we got to all come together and find a better way to live”.

“Texas Ruby”, written with Jim Croce’s son AJ, features Marcia Ball on piano and Jim Hoke on saxophone. It tells of a stripper who gets on a street car in New Orleans on a real hot and sticky day and starts doing her thing. It’s a mildly amusing tune that AJ previously recorded in ’06 on his “Early On” cd.

“Lone Star Blues” was written with Delbert McClinton and has been previously covered by Delbert & George Strait. In the first scenario, he signs up for the rodeo. “I drew a bull called original sin, heard he’d killed a couple of men”, … but “he got disqualified when the bull up and died”. The chorus and last two scenarios gave me the blues and should have died too. The chorus speaks of north, south, east and west Texas blues, together the Lone Star Blues.

Although the songs included in “Texas Songbook” do not, for the most part, match some of Gary’s very best songs, the album as a whole is thoroughly enjoyable. The production is light throughout, the music is great and Gary knows how to deliver a song. If you’re into dancing, you’ll double your pleasure with this album.

Dan Milliken’s Top 10 Albums of 2008

Thursday, December 25th, 2008

squintydan-christmas_avatarHappy holidays, everybody! I’m back with my personal top ten albums of the year, a list that took a stupid-long time to put together but is very nice to have done. All I would say as a note is that I like all of these albums very much and don’t think the rankings should be scrutinized to death, because my tastes certainly change frequently enough.

Okay, you get it. Let’s do this. Va-VOOM!

dailey-vincent-c#10

Dailey and Vincent, Dailey and Vincent

I typically lean progressive in my bluegrass tastes, but there’s simply no arguing with this dynamic twosome, whose debut finds them ripping into a straight-ahead traditional style with such crazy-polished singing, playing and writing that they practically become the new standard. Excellent.

kathy-mattea-coal#9

Kathy Mattea, Coal

Confession: I wasn’t quite sure how to take this one. Although I like Kathy Mattea’s voice and generally love concept albums, I had trouble getting into this set of mining-related songs as a whole, which may be because I personally have trouble digesting so many bare-bones story songs in one sitting, or may be because the album itself becomes a bit monotonous after a while. It’s kind of hard to say, and I finally decided that it’s just the sort of thing I personally have to be in the right mood for. Objectively speaking, though, I think what Mattea and producer Marty Stuart have achieved here is easily one of the most fully realized artistic expressions of 2008, and it’s pretty hard to gripe about on a song-by-song or sonic basis. So #9 feels about right for me.

reckless-kelly#8

Reckless Kelly, Bulletproof

Randy Rogers, Wade Bowen and Cody Canada take note: Reckless Kelly’s latest set showcases just how tersely effective the whole “country-nodding Texas rock” shtick can be when you pay the same attention to developing compelling lyrical ideas that you do to ‘tude (and I say that with love, because I enjoy work from all of the acts mentioned above). Bonus points for the year’s best album cover.

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