Category Archives: Random Reflections

Reflecting on: Keith Whitley–Don’t Close Your Eyes

Today, (5/9), marks the twenty-ninth anniversary of the loss of one of country music’s greatest voices in Keith Whitley. I wrote a piece in 2017 specifically to make the case that Whitley deserves to be in the Country Music Hall of Fame despite his untimely and tragic death, and his music has meant a lot to me over the years. But even though Whitley’s music has been important to me, I’ve somehow not discussed any of it here, and this seems like a good opportunity to honor him in that way.

Release Date: 1988

Style: traditional country

People Who Might Like This Album: fans of Randy Travis, fans of William Michael Morgan, those who like their country to mix the more traditional and modern

Standout Tracks: “I’m no Stranger to the Rain,” “Don’t Close Your Eyes,” “Some Old Side Road,” “Would These Arms Be in Your Way,” “When You Say Nothing at All”

Reflections: Well, we should all listen to some Keith Whitley today in honor of the one who gave us all of his pain in his music and then succumbed to it himself before he could reap the rewards of his career. There has been no one before or since Keith Whitley who has expressed that kind of pain in their songs, and not many who have left such a mark in so short a time. Because he released so little music before his death, much of it was released posthumously, and much of it was packaged into various compilations. I chose this because it’s the only original album of Whitley’s in wide circulation, the one he chose to take control of and turn toward a more traditional sound, and the one that would become his most successful. It was also the last album released before he was taken from this world in 1989.

I mentioned that Whitley took control of the creative direction for this record, and that makes Don’t Close Your Eyes the best representation of Keith himself, and what he might have become if he had lived longer. He represents part of the tide that included Randy Travis in the late 80’s, the tide that turned country back toward its traditional roots and ushered in the class of ’89. Alan Jackson, Garth Brooks, Travis Tritt, Clint Black…all of them were influenced and affected by Keith Whitley and this album.

Whitley is known for the singular way he inflicted emotion into his every syllable. That’s best reflected in his pain, like on the timeless title track, as well as “I’m no Stranger to the Rain,” a song written for Keith about the public battle he was known to be facing with alcoholism, a battle he would lose just months later. But he could also express that emotion with incredibly moving love songs; he’s probably best known for “When You Say Nothing at All,” but “Would These Arms be in Your Way” is just as achingly beautiful. He could also lighten the mood for songs like “Flying Colors” and “Some Old Side road.” “Some Old Side Road” was one of his more modern-leaning songs, foreshadowing the class of ’89’s marriage of traditional and contemporary sensibilities.

I could talk all day about what a fan I am of Keith Whitley and what he did for our beloved country music in such a short time. He is still influencing artists twenty-nine years later, and I’d be hard-pressed to name a current artist in any genre who could make that kind of an impression with the same amount of time and material. Time will tell on that, of course, but the point is, Keith Whitley is a special artist. Honored to have this opportunity to write about someone who has so directly and personally influenced my love for country music.

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https://www.youtube.com/watch?v=mw89r3UzFY4

Reflecting on: Ashley Monroe–Satisfied

In honor of Ashley Monroe’s fourth album release Friday, it seems fitting to discuss her long-lost debut, Satisfied. I could have chosen Like a Rose, which is one of my three favorite albums of all time, but this one has been overlooked and mishandled since its conception, so it’s this one I’ll highlight.

Style: traditional country

People Who Might Like This Album: fans of Like a Rose, fans of Lee Ann Womack, and just generally people starving for that traditional sound in modern country music

Standout Tracks: “Used,” “Hank’s Cadillac,” “Make Room at the Bottom,” “I Don’t Wanna Be,” “Let me Down Again”

Reflections: If you’ve read more than one of these, you’ll immediately say: “Why no release date?” Well, I’m looking at this album on Apple Music now, and I’m confronted with three different versions of Satisfied with three different release dates and yes, three different track listings. The original, limited release of this came out in 2006, and even that isn’t one of the three listed here, as that contained the single “I Don’t Want To” with Ronnie Dunn; if you got that version, you’re lucky because that song seems to not exist anywhere for purchase now. (And someone please correct me if I’m wrong about that because I’d really like a copy of “I Don’t Want To,” by the way.)

Ashley was dropped from her label in 2007, and the album was largely unreleased. It became available again in 2009 as a digital download. That version has a twelfth track in place of “I Don’t Want To” called “Promised Land,” and that version is probably the most well-known. There’s the original minus “I Don’t Want To,” as well as another version with a twelfth track known as “I Can’t Unlove You.” You see why I say this record has been mishandled–in fact, in 2013, when Monroe’s career had been revitalized after the success of Pistol Annies enough for her to be signed and release Like a Rose, some called that album her debut. It reflects both ignorance about the artist and perhaps embarrassment that such a talent was forsaken in this way. I’ve even seen Sparrow referred to in places as her third album, and I just think it’s a travesty to let this debut go unrecognized.

It was ignored and Ashley was dropped partly because it was so traditional, but more so because of the depth of emotion reflected in her songs. Monroe talks of taking “Used,” a song about literally being used like a worn-out, faded dress where “the fabric has been torn,” to radio stations where she moved DJ’s to tears, some even saying they wished they could play it, but it wouldn’t fit with the format. Thankfully, a different version of “Used” was recorded for Like a Rose, so that song has seen the wider reception it deserves. Monroe was only nineteen, but she’d lost her father six years prior to the recording of this debut, and much of it reflects that sorrow. It’s only someone who has lived through heartbreak who can make a song like “Make Room at the Bottom,” a pretty simple track lyrically, come to life because of the depth of emotion in each syllable. That same sorrow is displayed on “He Ain’t Coming Back” and in a different way on “Hank’s Cadillac,” as she expresses that she would have kept Hank Williams Sr. from dying if she’d been there that night. She’d have helped him to sober up and played his songs on the radio, and the world wouldn’t have lost him so early.

There are lighter moments here as well, like “Pain Pain” and the Dwight Yoakam duet “That’s why we Call Each Other Baby.” I don’t want to paint Monroe or this album into some sort of dark, depressing corner. But it’s her ability to express pain because she lived it that makes her special as an artist, that came out on these songs and ultimately hurt the performance of this album, and which still survives today on this forgotten record and deserves to be heard. I’m sorry Nashville treated this album so badly, but at least it’s in our hands now, and we can hear the debut from an artist many of us have come to love.

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Reflecting on: Lindi Ortega – Cigarettes and Truckstops

Lindi Ortega has been an artist whose style has had to grow on me. Her voice is quite different from those that I usually gravitate toward, but she has a real talent for darker songs. Readers of this site know I don’t often turn away from a dark song! Therefore, when deciding which of Lindi Ortega’s albums I wanted to reflect upon, I had only one in mind.

Release Date: 2012

Style: Alt-Country

People Who Might like This Album: Those who appreciate a good dark tale, and people who don’t mind some deviation from the usual ideas of country music.

Standout Tracks: “Day You Die,” “Murder of Crows,” “Heaven Has No Vacancy”

The songs listed above are not the only great tracks here, but since this is a ten-song album I thought I’d keep my list short. I like when Lindi does more upbeat songs, so “Day You Die” was an instant love, merely based on the guitars and tempo. Still, it’s the lyrics that really make this song stick. “You said you’d love me til the cows come home, well I’m hoping that they all go blind”. Basically, her lover says he’ll love her forever, but she fights with all her might to keep their passion alive, nonetheless. She tells him “just don’t say you’ll love me til the day you die”.

“Murder of Crows” is—you guessed it—a song about murder. It’s got more of a faster tempo though, and her voice is slightly effected. We don’t really learn why, but we know that the narrator of the song kills someone. With an opening line of “everybody knows what’s going down when a murder of crows starts hanging around”, it’s hard to not be immediately hooked.

“Heaven Has No Vacancy” is, if possible, even darker than “Murder of Crows”. The narrator is trying to get into Heaven, and she ends up sitting on the stairs of the Pearly Gates. The imagery of this song is simply stunning. Plus, the words in the beginning of the song, “for if God did not spare angels when they sinned, but cast them into Hell and committed them to chains of gloomy darkness” sets the stage nicely. The narrator wants a place in Heaven, but Heaven has no vacancy.

Overall, this album is one I always come back to when I think of Lindi Ortega. The variety of subjects and different tempos keep things interesting. Overall, it’s probably my favorite of her albums. With Liberty coming out recently, her music has been brought more to my attention, and I’m hoping for people to check out her back catalog.

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Reflecting on: Vince Gill- Pocket Full of Gold

Yeah, I know, as far as the New Year’s resolution/goal to do more reflections, we’ve been failing spectacularly. All I can say is I hope to rectify that because both Brianna and I really enjoy writing these. Anyway, this is a reflection I’ve been promising since even before that, back when we had stopped doing this during the last quarter of the year in order to focus on backlogs and those endless lists. So, though it is long overdue, I dedicate this reflection to our visual consultant Zack and his sobering ignorance of Vince Gill.

Release Date: 1991

Style: 90s neotraditional country

People Who Might Like This Album: fans of 90s country, maybe fans of Dwight Yoakam for the more upbeat stuff, , fans of George Strait

Standout Tracks: “Pocket Full of Gold,” “Liza Jane,” “Take Your Memory With You,” “What’s a Man to Do,” “I Quit,” “The strings That Tie You Down”

Reflections: I am currently in pursuit of every George Strait original album ever made. Once that goal is completed, I plan to move on to doing the same with Vince Gill. I grew up with 90s and early 00s country, but Vince was an artist I came to appreciate much later, during my time in college. I had the excellent fortune to meet his guitar teacher, a brilliant musician who taught at our college and also directed a traveling band, for which I became a singer. We took a trip to Nashville to record there, and it was there that I also had the great fortune to meet Vince. Joe, the director, took us to a little bar known as Station Inn to hear The Time Jumpers. It was also a common occurrence for Vince Gill to just show up there and sing with them, and he did so that night. Hearing that voice live made me go from almost unfamiliar with his music to an instant fan. I bought a greatest hits collection called Souvenirs the next day at the Country Music Hall of Fame, and I have never looked back.

We all think of a deep, bass voice when we think of country singers. But I assert the bold statement that Vince Gill’s unmistakable tenor is the best living voice we have in country music today. He’s a stunning technical singer, but he also knows how to use that range to full effect and how to hold out notes to create emotion. One of my favorite moments in music ever is when he sings “how many lies” on the chorus of “Pocket Full of Gold,” bending “lies” into about nine beats and five notes. And if you don’t know what I’m talking about, all of you music nerds who read this site, go listen to this, and if you’re not impressed, question your music nerd status in a serious way.

It’s his voice that allows him to sing in so many different styles–well that and his ridiculous guitar playing. There’s an album later in his discography which I may cover at some point where he released four discs at once, each with its own sonic theme. There was traditional country, adult contemporary, country rock, and bluegrass. This album isn’t quite as varied as all that, but it does have a nice variety of serious stuff like the title track and “Look at Us” mixed in with lively, fun tracks like “I Quit” and “Liza Jane.” Too often in these times we get mainstream records that are too immature and independent records that take themselves too seriously and suck the joy out of life. Vince Gill has always seemed to find a balance, and his fun songs always still have substance.

I could have picked pretty much any of his albums, and selecting one for this reflection was hard. It’s one reason I may cover more of his discography in the future. For now, this is as good a place as any to start with one of the best country vocalists we’ve ever seen.

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My Country Exclusive Anniversary

Time flies. That was my first thought when Megan told me I have been writing for Country Exclusive for nearly a year. It certainly doesn’t feel like I’ve been part of the site for that long. When I first joined, I had only written one album review. Writing about music was something I had thought about doing, but never to any serious degree. However, when Megan and I started talking about music, it led to her asking me to be part of Country Exclusive, and here I am.
In writing for Country Exclusive, I’ve definitely learned a lot. I have been on blogs where I’ve talked about and reviewed books, but writing about music is different. It causes you to have to think deeply about the possible meaning of song lyrics, and the reasons why a song’s instrumentation is the way it is. Writing about music can be a challenge, because it’s a very personal thing. A song could mean something to you, and a completely different thing to someone else. That’s the beauty of music, and the challenge for me, as a reviewer.
All of this is to say, being a writer for Country Exclusive has been very rewarding. It has caused me to think about music critically, as opposed to simply saying “I don’t like this”. It also gives me an outlet to discuss my favorite bands and albums, which I’ve never had before. Therefore, on my one-year anniversary as a reviewer for Country Exclusive, I’d like to thank Megan for taking a chance on my writing, and to the readers for following the site. I hope everyone continues to like what I write here, and I can’t wait to find my next favorite album or artist with you all.