Friday’s Gentle Giants tribute album to Don Williams has inspired me to go back and search through his discography. I know Brianna did a Greatest Hits collection last week, but this is honestly one of the best examples of his music that is also easily accessible–many of his original albums can’t be streamed, and hopefully, hearing this one will inspire you to dig further into his albums anyway. His music is some of the first exposure to older country that I ever had growing up, and it’s some I still come back to, and for good reason.
Release Date: 2004
Style: mostly countrypolitan/the Nashville sound, some more traditional country as well
Who Might Like This Album: fans of Ronnie Milsap, fans of Sam Outlaw, fans of softer country, love songs, and heartbreak ballads
Standout Tracks: “Some Broken Hearts Never Mend,” “If Hollywood Don’t Need You,” Lord, I Hope This Day is Good,” “Good Ole Boys Like Me,” “Come Early Morning,” “I’m Just a Country Boy,” “She Never Knew Me”
Reflections: You might think Sam Outlaw is an odd reference to make when referring to a classic country singer like Don Williams, but it’s the Nashville sound that Outlaw has modernized which Williams helped to make popular in the 70’s and 80’s; he wasn’t an outlaw like Merle or Willie, and his brand of country, although sprinkled with traditional songs, leans more toward the pop country of that time–which just shows you how far the term pop country has slipped, and also that it wasn’t always synonymous with crap. There’s a reason he is called “gentle giant,”–that unmistakable bass voice is known best for love songs like “I Believe in You” and heartbreak songs like “Some Broken Hearts Never Mend” than anything else. This album, and really all Don Williams music, is an easy listen. It just puts you in a good mood. It’s relaxing and simple, and it reminds you that it didn’t take grit to make timeless music.
There’s a sincerity and depth of emotion in these songs that’s hard to come by in today’s writing, and “gentle” is also the right word to describe the voice of Don Williams. I mentioned simplicity, and it shines through on “Lord, I Hope This Day is Good,” a little prayer for just that, a good day in the midst of struggle, and “Good Ole Boys Like Me,” a song that reminds you you can sing about growing up in the South without it being one giant cliché. He can share sentiments like “If Hollywood don’t need you, honey, I still do” from my personal favorite Don Williams song, or “most of all, you’re my best friend” and have them come off as sincere rather than cheesy. It could be the bass voice or simply the way you believe the words, but Don Williams has a way of selling these types of songs that would perhaps otherwise come off too sappy. I keep coming back to that word, “gentle,” which seems to describe his voice, his style, and his songs. As I said, it’s a nice, easy listen. Start with this, and work your way through his music. I have yet to find a bad Don Williams song.
Growing up, I heard Loretta Lynn’s music a lot. Although it took me years to understand the lyrics fully, my love for her music was something I picked up quite early on in life. This album, in particular, was the one I heard the most. While I have since heard her original albums, I always come back to this greatest hits collection.
Release Date: 1999
Style: Traditional Country
People Who Might Like This Album: Fans of female artists, and those who appreciate songs about real emotions
Standout Tracks: The whole album since it’s a greatest hits collection
If you don’t know any of Loretta Lynn’s songs, this is a great place to start. You get to hear about her childhood growing up in Butcher Hollow, Kentucky, where her father worked in the coal mines, on “Coal Miner’s Daughter”. There’s also the fantastic “You Ain’t Woman Enough”, where Loretta Lynn tells a woman who’s trying to win over her husband that she isn’t going to let said woman have him. This album also features the classic “Don’t Come Home A-Drinkin’”, where she tells the previously mentioned husband not to come home after he’s been out drinking all night. There’s also two of her duets with fellow classic country artist, Conway Twitty. As one of the premiere sets of duet partners in country music, you can’t get any better. “Lead Me On” is a fantastic example of a cheating song from both the male and female perspective. Really, the only downside to this album is that it doesn’t contain “Fist City”.
The thing that makes Loretta Lynn so good is that she wrote relatable songs from a woman’s perspective, in a time when nearly all country stars were male. That part hasn’t changed a lot nowadays, which only means that her music applies just as strongly today as it did then. Loretta Lynn wrote about the harsh realities of growing up poor in Kentucky. Her songs discussed what it was like to be a housewife to a husband who didn’t always put her first, and she even talked about jealousy. Her music is very human and real, and it’s something I come back to, time and time again.
It was only a matter of time until I turned to classic country for my Random Reflections. I love lots of older artists and songs, so I’m extremely excited to be able to talk about them here. Today, I thought I’d feature one of my top favorites, Dwight Yoakam’s debut album, Guitars, Cadillacs, Etc., Etc.
Release Date: 1986
Style: Traditional Country
People Who Might Like this Album: Fans of fiddle and traditional country with faster tempos
The opening guitar of “Honky Tonk Man” is some of the catchiest I’ve ever heard. It immediately gets you in the mood for the faster tempo of the song. It’s about a man who constantly hangs out in the bar, only to want to go back home when he’s out of money. In addition to fun songs, there’s the classic “South of Cincinnati”. This is one of Dwight Yoakam’s best songs in my opinion. It tells the tale of a woman who writes letters to her ex saying that if he ever returns south of Cincinnati, she’d go back to being with him. The thing that makes this a classic is that she writes these letters for fourteen years and puts them in her Bible, never sending them. Then, you have the title track. It’s a deceptively upbeat song wherein he sings “guitars, Cadillacs, hillbilly music, is the only thing that keeps me hanging on”. I love it because it’s fun, but there’s also the emotion behind it, as the girl he loved ruined his naivety, and now he’s hanging on to what he knows. Lastly, there’s “Miner’s Prayer”. Dwight Yoakam is from Kentucky, so the fact that he did a song about a miner wanting to escape the mine was no surprise. However, I do love this song with its banjo and Dwight’s expressive vocals.
This album is still one of my favorites from Dwight Yoakam. He still plays many of these songs live today, and they have become some of his biggest hits. There are a few fiddle solos on this album too, and I love them. If you have never heard of or checked out Dwight Yoakam’s music, there’s no place to begin like the beginning.
Buy the Album
https://www.youtube.com/watch?v=hT2sdgBtAW8
I had never heard of Andrew Pope until Megan clued me into this album. She lured me in with the promise of lots of steel guitar, which I’m sure everyone who reads my reviews knows I love. As this is Andrew Pope’s second record, I was excited to hear it. This is because most of the artists I’ve learned about recently have quite a few other albums out, and I was hoping to find a newer artist to like. As it turns out, I definitely have.
This is a very country album. It features lots and lots of steel guitar throughout most of the songs, as I’ve previously stated. There are lots of heartbreak songs too, and you can’t get deeper into the roots of country music than That. Andrew Pope mixes things up with some great songs about family and life being a musician, among other things. The instrumentation is skilled enough to stand out, though some of these songs are overlong. One big criticism I have about this album is that Pope likes to have pauses between some of his lines that last for a few seconds. It’s one of the things that immediately stood out for me, as he does it quite often. It’s not my favorite, and it bugged me a lot.
The title track kicks off this album in style. “Stoned on the One” is one of the best songs on here. It’s a great heartbreak song about missing his girlfriend, and the memories of her that he clings to. I especially love the chorus. “Honky Tonk Tragedy” is a fun song about a musician who’s tired and broke, but he wouldn’t change his life for anything. “I Wish I Was in Austin” is all about Pope wishing he were in Texas, playing music with Willie Nelson and soaking up the atmosphere where good country music is still loved. As someone who’d love to visit Texas, I definitely relate to that!
After this comes “Runnin’ After Rainbows”. It’s a standard song about a girl who can’t love someone, and there being nothing the man can do about it. This song features a metaphor of the girl trying to heal a heartbreak by driving down a highway, chasing after rainbows. “If I Go Crazy” is your average song about being too proud to admit how affected someone is after he’s left by his girlfriend. The chorus goes “If I go crazy, tell her I’m doing fine”. My problem with this is that being too proud to admit that you’re hurt has been done thousands of times. “Even Ramblers Get the Blues” is about a rambler, of course, but he sometimes gets tired of going from city to city, with nothing to hold him anywhere. All he has is his guitar and strangers. It paints a very stark picture.
“Redneck CEO” is one of my favorite songs off of this album. It’s all about his grandfather, who taught him everything he needed to know. He says that fancy boots and three-piece suits could learn a thing or two from his honest farmer of a grandfather. Now, we come to my least favorite of the album. It’s supposed to be a fun song about going into town with his girlfriend where she doesn’t have to dress up, but really, using the words “granny panties” just makes everything weird. I could probably appreciate this song without those mentioned, but as it is, it just feels wrong to me. “Country Congregation” is a good song about there being no discrimination in the country community, if you love country instrumentation and songs, you’re in. I like the theme here, because he’s saying it doesn’t matter if you’re rich, poor, happy or sad. Everyone’s welcome. “Everything’s Changing but Me” is yet another favorite song on this album. The world seems to be going crazy, but he stays the same. He feels out of place in today’s world, which is definitely relatable to a lot of people. I know it definitely resonated with e.
“Whiskey Gets Me There”tells the story of a man not wanting to feel the pain of his ex leaving him. The only thing that makes him numb is whiskey. It’s another cliche song about drinking to forget your problems. I like the acoustic guitar in this song, and how it strips everything back to just Andrew Pope’s voice, though. “Stormchaser” uses the imagery of storm chasing to talk about how a man keeps chasing heartbreak. I quite like how descriptive the lyrics are. “Through” is a nice way to close the album. It could be seen as the end of the heartbreak songs, with him finally saying he’s through with the pain of his relationship, and he would never go back to being with his girlfriend or wife again. This song was stretched out to accommodate for some really good solos, but I’ve always been a lyric person so this wasn’t really my thing.
Overall, I found this to be a good album. I wish that some of the songs were shorter, and again, those pauses between the lyrics really stick out for me. However, there is some awesome steel guitar featured on almost every song, and his lyrics are just varied enough to make most of the tracks stand out. I recommend this if you like traditional country music with a good backing band, as well as descriptive lyrics.
Ok, so we thought we’d try something different for this review, and if it works and you all enjoy it, we may do this on occasion for more albums in the future. Brianna and I each came into this album with very different opinions of Stapleton’s prior work; while we were both fans, she was more impressed by Traveller than I was, and a self-described Stapleton fan, and although I really enjoyed that album, I felt it was a bit too long and not quite on the level assigned to it by some critics. We both felt his unprecedented sweep of the 2015 CMA’s and subsequent historic success to be well-deserved and have both looked forward to this album. And, while we’ve both enjoyed Chris Stapleton’s second record, different songs and aspects spoke to each of us once again–it goes back to that whole “music is subjective” thing that Leon of Country Music Minds and I seemingly discuss every five minutes. So with that in mind, we thought we’d share our opinions together and just have a conversation about the music.
Track Listing
1. “Broken Halos”
Brianna: “Broken Halos” is a really nice way to open this album. From the opening acoustic guitar to Chris Stapleton’s voice, I was immediately drawn in by this song. I like the lyrics too, which are admittedly a bit vague, but seem to speak on how people help us, but eventually leave. This song has continued to grow on me with each listen. It’s one of my favorites off this album.
Megan: See, I would disagree slightly. I think it’s a really solid song, but it doesn’t draw me in as an opener like “Traveller” did off his last album. I think it’s the vagueness in the lyrics you mentioned. There’s no doubt his voice and that guitar make you want to listen, but for me, it’s not a strong opener.
Brianna: The vagueness is the one thing I’d change about that song.
2. Last Thing I Needed, First Thing This Morning”
Megan: Wow, what a song this is. It’s a nice Willie Nelson cover, and the harmonies with his wife Morgane are always great. Although, and I’m probably going to be unpopular for saying this, I sort of feel like with this, and later on with another cover, he’s trying to manufacture another “Tennessee Whiskey” moment. And I’m just not sure that’s happening again. Still love this though.
Brianna: I never knew it was a cover until you told me, but I agree with you on feeling like he’s trying to make another “Tennessee Whiskey.” I really like the song, but at the same time, I don’t love it either. I won’t keep saying it, but his voice is fantastic. OH, and I like the imagery in the lyrics, but I guess that doesn’t really come into play here since it’s a cover.
Megan: I think it still does, to some degree. I mean, he did choose a good cover lol.
3. “Second One to Know”
Brianna: The more upbeat music on this track was a really nice change, and the theme in the lyrics is pretty clever, since he wants to be the “second one to know” if the woman he’s with decides she’s done with the relationship. It’s really catchy since the song’s fast too. It’s not my favorite, but I do wonder why this particular song was chosen to be performed on the [ACM] awards.
Megan: I agree–I like the theme and the upbeat instrumentation. Not to harp on it any more, but if I’m Stapleton, I’m opening the album with this fun little song.
Brianna: There aren’t many upbeat songs on the album, though, so maybe that would have misled the listener. Not sure why they did a lot of things they did, though.
Megan: You make a good point here–and yeah, Mercury really screwed up a lot of things, but that’s enough for a whole other piece lol.
4. “UP to No Good Livin'”
Megan: Here’s your classic country song, complete with lots of steel. Everybody who says Stapleton’s more soul than country, it’s like this song is a giant “f you” to this notion.
Brianna: Exactly. He proves he’s country with this song. NO surprise to anyone, but it’s my favorite. The steel, the vocals, the lyrics being very witty, talking about being unable to live down being up to no good.
Megan: Yep. “I’ll probably die before I live all my up to no good livin’ down”–I’m not sure you get much more country than that.
Brianna: I love it. So much.
5. “Either Way”
Brianna: I love the acoustic production here. It really allows Chris Stapleton’s voice to be the star–which it should be on a painful song like this. It took me a moment to adjust to this version of the song, since I’ve only heard Lee Ann Womack sing it, but he’s very successful at making his version stand out. The chorus gets me every time.
Megan: Yeah, and if he’s actually going to have another “Tennessee Whiskey,” it’s going to be here, as I prefer this version. The actual lyrics are about a couple passing in the hall but barely speaking, and when he belts out, “You can go, or you can stay, I won’t love you either way,” you can’t help but feel that pain. My favorite of the album.
6. “I Was Wrong”
Megan: Well, I said Stapleton isn’t more soul than country, but he’s definitely got a lot of soul in his country, and all that comes bursting out on this heartbreak song. One of the least country moments, but also one of his best vocal performances on the record.
Brianna: Yes, I have to agree with you about how soulful this song is. What I love about Chris Stapleton is that he isn’t out of place singing in a few different genres, and that it all feels natural. Back to the song…I like that he outright admits that he was wrong to his ex, as opposed to only himself.
7. “Without Your Love”
Brianna: This is my least favorite song off this album. The chorus is very catchy, though. I like that this is the next song after “I Was Wrong,” as it could be seen as the continuation of the story. I just think this song is otherwise forgettable.
Megan: It’s my least favorite too, and it does feel like the continuation of “I Was Wrong,” as in this one, he’s missing the ex. But it also adds to it being forgettable because it comes off as the lesser version of the incredible “I Was Wrong.” ON a longer album, I don’t mind this, but on a 9-track project, it feels like filler, and you can’t afford filler on a 9-song album, especially not one as stripped-back as this.
8. “Them Stems”
Brianna: It really does, as does “Them Stems.” I like the rhythm of the song, and again, the album did need a bit of a change in tempo, but this song doesn’t grab me aside from that.
Megan: Yeah, this is where we’re total opposites. I saw SCM call this filler and call the use of pot references to be cool outdated–which it is–but sue me, this is just the fun break from the rest of the album that I needed. One of my favorites. Just makes me smile every time I hear it. Also have to love the harmonica.
Brianna: Haha, I do recognize that a fun song was needed here, so I get it. And it is catchy. I don’t hate it, but it is my second least favorite.
9. “Death Row”
Megan: It’s a nice way to close the album, mixing his soulful voice with more country lyrics about a man on death row. The only tiny criticism I have for this is that while he sings the crap out of it, I don’t quite feel his pain like I do in “Either Way” and “I was Wrong.” Doesn’t quite connect with me.
Brianna: I don’t feel it emotionally either. Also, is it just me, or is the song kind of ambiguous? I don’t know if he did it or not. The reason I say that is because he says he told Jesus everything he knew, not everything he did. Plus, his lyrics are a bit hard for me to understand when the song starts.
Brianna: I love the sparse production though. It fits perfectly.
Megan: Yes, I would agree about it being ambiguous, not quite specific enough to strike a chord. That production definitely fits it and closes the whole thing well.
Overall
So, as you can see, although we both enjoyed this quite a bit, different moments stood out to each of us. My favorites were “Either Way,” “I Was Wrong,” and “Them Stems.” Brianna’s standouts were “Up to NO Good Livin'” and “Broken Halos.” WE did agree that “Without Your Love” seemed like filler, and we each thought that while this record was solid, as a 9-song effort, it seems to still be missing something. For me, it’s an overall better effort than Traveller because that was too long, but since this was shorter, I wanted it to be nothing but brilliant songs, and it didn’t quite live up to that. Brianna considers this more a solid, consistent effort all the way through for a 7.5, while I see it as a good album with a little filler but also some standout brilliance, making it about an 8.5. So we’re going with a collective
8/10
