Pam Tillis & Lorrie Morgan
Grits & Glamour Tour
Southern Kentucky Performing Arts Center
Bowling Green, Kentucky
October 13, 2012
This past Saturday night, I had the immense pleasure of seeing two favorite artists of mine – contemporary country legends Pam Tillis and Lorrie Morgan – perform live in concert at the newly completed Southern Kentucky Performing Arts Center (SKyPAC) in Bowling Green, Kentucky. The SKyPAC is a beautifully decorated 1800-seat venue with excellent acoustics, thus providing an ideal atmosphere for Tillis and Morgan’s fantastic Grits & Glamour show.
The Grits & Glamour tour is all about the fans, and all about great music. No unnecessary gimmicks, bells, or whistles – just Tillis and Morgan singing their hearts out, joined by a small four-piece band. Both ladies were in fine voice, boasting some absolutely gorgeous harmonies, as they performed together backed by fiddle, bass, guitar, and keyboard. Such simplicity created a warm, laid-back, almost familial environment as Tillis and Morgan treated the eager crowd to a selection of best-loved tunes, all the while cutting up like one would expect from a couple of longtime girlfriends, and sharing often-humorous personal anecdotes – such as Tillis’ account of being mistaken for Patty Loveless at a Waffle House, by a fan from Knockemstiff, Ohio. (Google it – It’s a real place)
The bulk of the concert set list consisted of a selection of well-known hits from both artists, finished off with covers of classic songs that are close to their hearts, as well as some more recent cuts. The two opened the show with a lovely duet version of Joni Mitchell’s “Both Sides Now.” From that point onward, they alternated between performing Morgan’s hits and Tillis’ hits, beginning with Morgan’s “Watch Me” (performed in a fierce fiddle-laden arrangement quite different from the relative slickness of the 1992 hit version) and Tillis’ “Shake the Sugar Tree.” Obviously, both ladies have had more than enough hits to fill up an entire set list (Tillis has had 13 Top 10 country hits; Morgan has had 14), but Tillis and Morgan did a fine job covering the main highlights of their careers, such that virtually any audience member could enjoy the thrill of hearing something familiar. Though the hits dominated the set list, Tillis and Morgan also performed standout cuts from each of their most recent albums. Tillis performed “Train Without a Whistle” from her 2007 career-best effort Rhinestoned, while Morgan gave a heartrending performance of “How Does It Feel” from 2010’s I Walk Alone.
A major facet of what makes Grits & Glamour such a broadly enjoyable show is the way its two headliners simply exude genuine love for great country music new and old. They commented on the increased scarcity of ”real” country music in modern times, but Tillis nonetheless assured the audience that “We got it all – fiddles, steel guitar, mandolins – and we ain’t ever lettin’ go of it!” Both ladies shared a common experience of growing up with the musical heritage of a famous parent – an experience they recollected with fond enthusiasm - being the daughters of singer-songwriter legend Mel Tillis, and of late Opry star George Morgan, respectively. One of the night’s most memorable moments was a heartfelt tribute to Tillis and Morgan’s famous fathers, as they eased into a medley of George Morgan’s 1949 signature “Candy Kisses” and Mel Tillis’ classic composition “Burning Memories,” a hit first for Ray Price in 1964, and then for Mel Tillis himself in 1977. In addition, the ladies also lovingly covered classics such as Skeeter Davis’ “The End of the World” and Roger Miller’s “King of the Road.”
As the show neared its end, Tillis and Morgan were met with the loudest applause of the night as they treated the audience to performances of their respective signature classics – Tillis’ “Maybe It Was Memphis,” and Morgan’s “Something In Red.” They then rose to their feet for an inspired performance of gospel song “Jesus On the Line.” After an encore, they returned to the stage to perform brief snippets of Morgan’s 1993 number one “What Part of No” and Tillis’ 1990 debut hit “Don’t Tell Me What to Do.” Then came one of the biggest highlights of the evening as the two closed out the show by tearing into the rousing up-tempo number “I Know What You Did Last Night” – a new song which is to appear on Pam Tillis and Lorrie Morgan’s forthcoming Grits & Glamour duets record. After the show ended, Tillis and Morgan headed out to the atrium to sign autographs for a crowd of enthusiastic concertgoers.
Needless to say, the Grits & Glamour concert experience was more than enough to whet one’s appetite for the ladies’ soon-to-be-completed duet effort. The unique chemistry shared between the two outstanding talents was on full display throughout the evening. If you have the opportunity to catch any of Pam Tillis and Lorrie Morgan’s future shows on the Grits & Glamour tour, you will be in for a real country music treat.
“Both Sides Now”
“Shake the Sugar Tree”
“Except for Monday”
“Cleopatra, Queen of Denial”
“A Picture of Me (Without You)”
“Train Without a Whistle”
Medley: “Candy Kisses”/ “Burning Memories”
“The End of the World”
“Mi Vida Loca (My Crazy Life)”
“How Does It Feel”
“King of the Road”
“I Guess You Had to Be There”
“Maybe It Was Memphis”
“Something In Red”
“Jesus On the Line”
“What Part of No”
“Don’t Tell Me What to Do”
“I Know What You Did Last Night”
No doubt, Mr. and Mrs. Feek are very busy people these days as they host their very own variety program TheJoey + Rory Show on RFD-TV, while also preparing to release their third studio album His and Hers on July 31. The first single from the project is the piano-driven ballad “When I’m Gone” – a narrator’s wistful meditation on her future death, as well as its effect on the one she holds dear.
While the piano accompaniment is a slight departure from the steel-heavy sounds Joey+Rory have typically favored, I’ll be darned if this song doesn’t bring out the absolute best in Joey Martin Feek as a vocalist. As usual, she smartly goes for subtlety over power, conveying the sorrowful tone of the lyric without wallowing in it, and turning in a performance of beautiful emotional connectivity. It’s a classic example of the unaffected down-home sincerity that has long marked Joey+Rory’s personas both on stage and off.
The lyric follow’s the narrator’s spouse through the grieving journey. “The bright sunrise will contradict the heavy fall that weighs you down/ In spite of all the funeral songs, the birds will sing their joyous song/ You’ll wonder why the earth still moves…” Joey sings in a verse that sounds vaguely reminiscent of Skeeter Davis’ “The End of the World.” The next verse depicts the bereaved one’s first night alone, showing a few shades of Reba’s “For My Broken Heart.” The lyric makes no attempt to downplay the depth of grief, but offers a hint of positivity toward the end as Joey concludes that ultimately, life will go on – “And even though you loved me still, you will know where you belong/ Just give it time, we’ll both be fine when I’m gone.” The song follows a structured narrative that is straightforward, well laid out, and most importantly, true to life.
At this point, country radio has clearly demonstrated no interest in Joey+Rory’s music, which is too bad for country radio listeners. But if the Feeks are able to build a respectable career as album artists, hopefully bolstered by exposure from their television program, there may be little reason to complain. The main thing is that, if “When I’m Gone” is any indication, Joey+Rory still have plenty of excellent music left in them. Bring on that new album.
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.
She was never supposed to be a solo act. Her high, thin voice made her perfectly suited to play harmony to another vocalist’s lead. But after a tragic car accident, Skeeter Davis would accidentally become one of the more popular female country artists of the fifties and sixties.
Her real name was Mary Frances Penick, but her nickname was Skeeter. She became involved in music once she met Betty Jack Davis in high school. Sharing a love of country music, they dubbed themselves The Davis Sisters and began performing on local radio shows in the early fifties. Betty sang lead, while Skeeter performed high harmony. A quick stint on a small label caught the attention of RCA Records, who signed them to a contract in 1953.
The Davis Sisters had an enormous hit right out of the box. “I Forgot More Than You’ll Ever Know” would spend eight weeks at #1 in 1953, becoming the first “girl group” song to top the charts. Sadly, tragedy struck as the single was working its way to the top. The Davis Sisters were involved in a horrific car accident that left Skeeter with broken arms and legs. Betty Jack Davis died in the crash.