The Past Pulse Of Mainstream Country Music [April 1989]

keith-whitley

This is the Past Pulse Of Mainstream Country Music. Each week, I take a look at the Billboard Country  Airplay Chart from years ago and grade the top 30 songs. Each week will be a different year. The grading format I use each week is every song will receive one of the following scores: +5, +4, +3, +2, +1, 0, -1, -2, -3, -4, -5. These will then be tallied up for an overall score, or pulse of the past top 30 songs, with the highest possible score being a +150 and the lowest possible score being a -150. The grade I would give it determines its Pulse score. The grading key: 10 [+5], 9[+4], 8[+3], 7[+2], 6[+1], 5[0], 4[-1], 3[-2], 2[-3], 1[-4], 0[-5].

The goal of this exercise is to evaluate the past pulse of mainstream country music and determine if it was better or worse compared to now. To see the full list of the top 30 country airplay songs for this week, click here. This week I will take a look at the top 30 songs of the Billboard Country Airplay Chart from April 8, 1989. Since this chart came before 1990, I only have access to the top 25 songs. This means that the highest possible score for this week is a +125 and the lowest possible score is a -125. Once again, I am still wading through a ton of chart requests so this week’s chart is dedicated to reader Scotty J!

  1. Keith Whitley – “I’m No Stranger To The Rain” +4 [Best Song]
  2. George Strait – “Baby’s Gotten Good At Goodbye” +3
  3. Vern Gosdin – “Who You Gonna Blame It On This Time” +3
  4. Shenandoah – “The Church on Cumberland Road” +3
  5. Don Williams – “Old Coyote Town” +4
  6. Billy Joe Royal – “Tell It Like It Is” -1 [Worst Song] (His voice and the overall feel of this just don’t work for me)
  7. Hank Williams Jr. & Sr. – “There’s A Tear In My Beer” +4 (As an actual song it’s a +3, but considering the magic that went into this I have to give it its due.)
  8. K.T. Oslin – “Hey Bobby” 0 (Sorry, way too sleepy in the production and that “do you want to huh, huh” line just annoyed the crap out of me)
  9. Foster – “Fairshake” +2
  10. Roy Orbison – “You Got It” 0 (+2 for Pop though)
  11. Michael Martin Murphey – “From The Word Go” +3
  12. Patty Loveless – “Don’t Toss Us Away” +3 (Interesting production on this track)
  13. Lacy J. Dalton – “The Heart” +3
  14. Highway 101 – “Setting Me Up” +2
  15. The Judds – “Young Love (Strong Love)” +2
  16. Lee Greenwood – “I’ll Be Lovin’ You” +1 (Holy crap! A Lee Greenwood song that isn’t “God Bless The U.S.A!”)
  17. Baillie and the Boys – “She Deserves You” +3
  18. Randy Travis – “Is It Still Over?”+3
  19. Restless Heart – “Big Dreams In A Small Town” +2 (I wish the accordion was a little more prominent in the mix but still solid)
  20. Rodney Crowell – “After All This Time” +3
  21. Alabama – “If I Had You” +1
  22. The Bellamy Brothers – “Big Love” +1
  23. Barbara Mandrell – “My Train Of Thought” +3
  24. Reba McEntire – “New Fool At An Old Game” +2
  25. The Nitty Gritty Dirt Band – “Down That Road Tonight” +2

The Past Pulse Of Mainstream Country Music: +56

This is certainly a good week, but I have to be honest that there’s more generic songs here compared to other past weeks. Nothing inherently bad mind you, just not really all that special. Of course, Keith Whitley was riding the top of the charts so what can I say?

As always, if you have any questions as to why I gave a song a certain grade feel free to ask me. Also, let me know what you guys think of the chart in the comments!

Album Review – Sunny Ozell’s ‘Take It With Me’

Sunny Ozell Take It With Me

What is Americana? This is question I see posed fairly often and it can be a tough one to answer. Americana after all isn’t a concrete sound like (actual) country, rock or hip-hop. Americana is a melting pot of different genres that come together to create a true vision of artistry and music. But really I think the best answer to this question is this: you will know Americana when you hear it. And I can certainly hear it with Sunny Ozell. Not a big surprise when she says two of her biggest influences are Gillian Welch and Dave Rawlings, two Americana stalwarts. Ozell lived and breathed music from an early age, receiving classical voice training, studying the Suzuki method of classical violin and having music loving parents who listened to the likes of The Rolling Stones, Fleetwood Mac and Janis Joplin. Ozell has been involved with various music projects in various genres throughout her life, playing a lot of jazz. But on her new album she wanted to explore everything, hence why it’s strictly covers of some of her favorites. It’s to lay the foundation for her next album.

“I’ve always written songs…and bits of songs,” Ozell says. “This first project represents me pulling together a band. It’s a very collaborative effort, and we really found our footing as a unit. It gave me a platform for my voice. I’m putting together the scraps and the ideas for the next album. The ideas I’m writing come in snapshots. I’ll have a phrase or rhyme scheme and build around that.”

Ozell really truly loves and has a passion for music, as her whole life revolves around it. Of course a lot of people know her as the wife of actor Sir Patrick Stewart. But as she embarks on her music career she’s trying to be known for her music too. If her debut album Take It With Me is a good indicator of what’s to come, then she’s well on her way to being known as an Americana artist too.

The breezy and easy-going Leon Russell song “Manhattan Serenade” opens up the album. The song is very much in the bluesy, jazz sonic range and allows Ozell to really show off her more bubbly side. One of my favorite tracks on the album is “Family Tree.” The Julian Velard song really suits Ozell’s voice well and allows her to flex her vocal range. The inclusion of the xylophone in the bridge really adds an appropriate reflective tone to the song. This is definitely one of the songs you must hear off the album. Next is “Move Along Train,” one of the iconic songs of well-known American Soul and R&B artist Pops Staples. I can see why Ozell would choose the song, but it doesn’t really seem to suit her style as well as other songs on the album. This song is more suited for an artist with a lower register. Ozell’s performance isn’t bad, but not one of the better ones on the album.

The softer “Louisiana 1927” is more in Ozell’s range. While I’m not that fond of singer-songwriter Randy Newman, I find this is one of his best songs and I’m glad Ozell chose it. For those not familiar, “Louisiana 1927” is about the Great Mississippi Flood of 1927 that left hundreds of thousands of people homeless. I really applaud Ozell for taking a country approach to the song, as the steel guitar throughout really goes with the lyrics perfectly. Up next is one of two original songs on the album, the Aaron Lee Tasjan-written “Git Gone.” Ozell tackles the song written by the folk rock artist with absolute gusto. It’s an upbeat, fun song that has a carefree nature that will easily hook you in. The dreamy “Kill Zone” follows. T Bone Burnett and Roy Orbison wrote this song together, weeks before Orbison died, and is believed to be the last song he wrote. Again Ozell takes a more country approach, as you can hear plenty of steel guitar throughout combined with the piano. This is one of Ozell’s best vocal performances on the album.

“Number One” is another Tasjan-written song. The song is about struggling to live with a spouse who spends more time doing stuff like smoking than loving their significant other. It’s a heartbreak ballad that slowly unwinds itself and the more I’ve listened to it, the more I’ve enjoyed it. It’s one of those songs that take time to grow, but once it does you can really connect with it. Ozell goes in a more pop direction on “Only in the Movies.” It’s a David Mead song, a pop artist based out of Nashville. The song is about how relationships in real life don’t make sense and end how they should, only in the movies. It’s a pretty straightforward song. The same can pretty much be said for “No One is to Blame,” a song by English soft rock artist Howard Jones. The song is about being attracted or in love with someone, yet you can’t do anything about it. Your attitude towards this song will probably be dictated by your feelings towards new wave music of the 80s, which most people either love or hate.

Ozell tackles the Hank Williams song “I Can’t Help It If I’m Still In Love With You” next. British folk/alt-country artist Teddy Thompson joins her on the song. Thompson is the son of Americana artist Richard Thompson. As someone who has never heard a Hank Williams song he didn’t like, I of course enjoyed Ozell’s version. Once again this country/folk sound really suits her well and I think I would like to hear more from her in this vein. Take It With Me closes out with the Tom Waits song and album’s title track. “Take It With Me” is a soft, somber love ballad that really can tug at your heartstrings. It’s a Waits song, so of course it cuts deep. It’s a beautiful song that suits a beautiful voice like Ozell’s.

Take It With Me is the kind of album any music fan can pick up and enjoy. Ozell really does a great job picking some of the masters of each genre to cover on the album and proves to be up to the task in doing the songs justice. It should be noted too that the album has two bonus track worth checking out, Ray Charles’ “Come Back Baby” and Hanks’ “I Saw The Light.” You might not like every song on this album, but when an album jumps around to a lot of genres this tends to be the case. There’s something for everyone on this album, but really I thought Ozell shined best on the folk/country-driven tracks. I hope on her next album with original material that she goes in this direction, as her voice has that smooth, yet earthy tone that goes well with steel guitar. Sunny Ozell may be well versed in classical and jazz music, but she fits like a glove with Americana.

Grade: 8/10