This Compilation Of Love Songs Was First Released In 1995. The Four Hits From “The Innocent Age” Were Thankfully Included.

I bought this compilation as a sort of consolation prize. Some time ago I made the horrific blunder of passing on the “36 All-time Favorites” album and when I realized what I had done it was too late. They had already sold it, and the chances of seeing it again in Uruguay are non-existent. So, when I came across this anthology I had to go for it.

As a compilation, this is not really bad. It gives you a clear indication of the man’s brilliance. It does not, however, give you an indication of his scope. You wouldn’t know he was capable of crafting albums like “Twin Sons of Different Mothers” or “High Country Snows” by merely listening to this.

Still, it is impossible to dislike a CD that has all the four singles from “The Innocent Age” (“Leader Of The Band”, “Run For The Roses”, “Same Old Lang Syne” and “Hard To Say”).

“Love Songs” also has the (somehow) rare “Make Love Stay”, a song that was featured for the first time on a 1982 retrospective. Along with the songs from “The Innocent Age”, it is my favorite cut on this compilation. These five songs showcase a delicacy that is limitless (“Run For The Roses”) and an ability to sing what the public needs to listen to as if it were what they want to listen to. Fogelberg can make isolated episodes (like the one in the autobiographical “Same Old Lang Syne”) stand ten times more compelling that the full story, and he can also make full stories (“Leader Of The Band”) feel like a self-contained episode by expressing a single sentiment so predominantly – in the case of “Leader Of The Band”, a song that narrates a person’s full life (his father’s) is gloriously summarized by a single feeling. The words “I love you” are spoken only at the end, but they are already formed as the first notes are played, and they are more than palpable when Dan sings the very first line.

I can’t recommend this CD over any other compilation of Dan’s. The one and only context it would work splendidly is if the other person is already well-acquainted with Fogelberg’s output, and all that you want to do is give her a birthday or a St. Valentine’s gift. In that case, this beats the most expensive mink you could ever find.

Billy Ray Cyrus' Second Disc Was Quite Successful, Yet It Could not Match The Sideral Sales Of The Debut

“It Won’t Be The Last” was Billy Ray Cyrus’s second full-length album. It was released in the summer of 1993, shortly after his mega-successful debut had hit the shelves. I regard it as a major step forward. But it is not that the album is miles away from the previous one, it is just that it has gone the (relatively short) distance that would lead to a more balanced listen. The first time around it felt like the ballads and the rockers did not mesh. That problem was to be resolved by “It Won’t Be The Last”. The key word here is “focused”. There is a clear middle ground between ballads and rock numbers (such as the successful single “Words By Heart”), and the flow of the album feels more natural this time around.

The record has 11 tracks, and the first six are a true pleasure. The single “In The Heart Of Woman” was a foolproof way to set the disc in motion, and having it followed by one of the many Don Von Tress songs on offer (“Talk Some”) was the best way to keep the momentum going. Von Tress was to be the primary tunesmith for the album. That was only to be expected – he had penned “Achy Breaky Heart” and “Talk Some” is the best rocker he contributes to this record, in my opinion. The other rock number (“Ain’t Your Dog No More”) feels too overtly like an Achy Break Heart surrogate, and a forced one at that.

The first side also bears the beautiful “Somewhere New” (which in places lifts the melody from “Hopelessly Yours”), and the contagious “Only Time Will Tell”, a song that showcases Billy was making progresses when it came to songwriting. That is something that can also be said about “Throwing Stones” (which he penned on his own) and the title track (which he co-wrote). The previous time around he had co-written a couple of tracks with his wife – no offense to anybody, having professional writers is not the same. These songs make it all too evident.

“Words By Heart” is located in the middle of the album, and it actually worked pretty well as a single cut. The song has the kind of lyrics that Billy’s large female following absolutely adored, and it might as well be the most successfully measured performance he was to set to record. The accompanying video was also very suitable.

I don’t feel the remaining songs are as exciting as the ones that make up the first half of the disc, although a couple are real growers (the title track and “Right Face Wrong Time”). If anything, they showcase Billy’s development as a finer tunesmith. And the final cut is “When I’m Gone”, a number that has been written by Don Von Tress and Billy himself, and that has him in full balladeer mode, singing a quavering lyrics about abandonment and its aftermath over a sparse accompaniment and a gospelly backing. It works pretty efficiently for a change.

This album could not replicate the success of the previous one, even when it sold quite well. I don’t know how much of a surprise that was at the time. Had he landed another “Some Gave All” the story of the 90s would have had him as the main protagonist, and not just as someone who stole the stage for a moment, and shone like few could ever hope to shine. And he was to keep on pushing – the forthcoming albums were to be even better – “Trail Of Tears” (1996) in particular would be deemed as his most realized album by critics. Not many were listening by then, though. And not that many are listening now. Those who are just familiar with Billy’s most famous composition and the album it was circumscribed to should really hear the rest of the story. Giving his second album a spin is not only natural but also very rewarding. It certainly wasn’t the first good record he issued, and it wasn’t the last for sure.

Rating: 8/10

Billy Ray Cyrus' Debut Is Titled After The Words Of A Vietnam Veteran Named Sandy Kane

Billy Ray Cyrus’s debut was first issued in 1992, and more than 15 years later it still retains a couple of significant records such as being the top-ranking album by a country male performer, and (most notably) the best selling debut album from a male artist – more than 20,000,000 copies have been sold worldwide. Of course, it is the album that has “Achy Breaky Heart” – for my take on the song and the impact it had on Billy’s career I direct you to the general introduction I posted yesterday. Three more singles were drawn from “Some Gave All”, and they all did pretty well on the charts – “Could’ve Been Me” hit number 2, actually. The other two singles were “She’s Not Cryin’ Anymore” and “Wher’m I Gonna Live” (they charted at #6 and #23 respectively).

Before being signed up, the consensus was that Billy was too much of a rocker for Nashville and too much of a country performer for LA. Leaving aside the monster hit of the record, that is something which comes across when you listen to the album. The songs are either full-on country (the vast majority of compositions) or unbridled rock numbers. Personally, I feel these rock cuts are fantastic, and they are the ones that stick in my mind after listening to the CD. I am surprised that “Never Thought That I’d Fall In Love With You” was not issued as a single – Mercury probably though that issuing three harder-rocking compositions could be counterproductive. The fact is that the song has a great guitar part throughout, and a drum track that shifts from accompanying to leading in a snap, then reverts itself again. I like the song as much as the achy breaky one, and the fact it was never overplayed is just a big plus.

Now, I must admit that the ballads leave me cold. Billy co-wrote most of them. I don’t know if that was the problem or not – the “fast” numbers were all taken care of by hired hands, and (to draw a quick comparison) the ballads that were included in “It Won’t Be The Last” did work for me. And they were penned by professional songwriters.

Still, “Some Gave All” is the obvious highlight when it comes to songs whose tempo is moderate. It was an unsolicited hit, too (it hit #52), and it was the obvious standout composition co-written by Billy on the record. I can tell you something that is very indicative of the song’s quality: I live in a country that has seen no war for virtually two centuries, and the song still speaks very clearly to me. I can only imagine the impact it must have in the United States.

The album truly has its moments, then. But whenever I listen to it I get the feeling “This guy is just a one-trick pony”, and the truth couldn’t be further away from that, as he was to prove both shortly and through the years. His next records were to have a more uniform feel, and (from what I have listened so far) they are more enjoyable on the whole than this debut. It has a mammoth of a hit, and it has some great songs interspersed with some that (to me) are a bit monotonous. Billy could do better, and he was to do it within a year. But what a shame he was already painted into an artistic position he could never extricate himself from.

Rating: 7/10

Billy Ray Cyrus Performing During The "Achy Breaky Heart" Days

Success is not as simple or charming as it seems. Not necessarily a phenomenal bout of early success will mean that it is going to be a smooth ride from that point onwards. And I am sure few know that as well as Billy Ray Cyrus.

To the general public, he is always going to be associated with his monster hit from 1992, “Achy Breaky Heart”. As it is (very accurately) said elsewhere, it was to be the song that would make him and break him. The song must have been one of the most played tunes of the 90s. In South America, it was still being played like the first day well into 1995. And in the States, it caused a true mania that included an “Achy Breaky Dance” – the first time such a thing had happened with a country song.

Alas, Billy was unable to sustain that burst of success. In a certain sense, that was to be expected – I mean, had he kept that streak he would have displaced just anybody who ever set foot on a stage – Elvis, The Beatles… anybody would have paled in comparison.

There are two facts that make that lack of true posterior successes a sad tale indeed. First of all, on his second album he didn’t just attempt to replicate the formula but he tried to move forwards to avoid the pitfall of “the Achy Break Heart guy”. And he did fine, but it was not enough to dispel the aura.

Secondly (and what I find the most saddening) is that the guy is good. He has talent – just listen to every album he released after his debut. No discerning person who listens to “Southern Rain” (2009) could argue that the album is more than acceptable. The same goes for his second disc, “It Won’t Be The Last” (1993). Actually, his first record (“Some Gave All”, 1992) is the one of his I like the least.

What is it the Chinese say? “Be careful what you wish for… you might get it”. That is the moral of Billy’s story for us, the onlookers. If the guy was a no-hoper, then I wouldn’t care less. But just merely scratching the surface reveals that he had far more than one monumental hit in him. The story is not over yet, of course. Maybe one day there will be another song of his that will rank alongside the achy breaky number. I, for one, would love to see that day come.

Alabama's "In The Mood: The Love Songs" Was Released In 2003. It Featured 2 New Tracks.

Alabama has gone down in history as the most successful group in the history of country music. That is, in a scene that has traditionally been dominated by single performers they did give collectives a definitive chance to push the boundaries of the genre, and the way it has always been perceived.

I was overjoyed to find this compilation when I traveled to Argentina to attend an Elton John gig during The Rocket Tour, if only because not a single disc by them is available where I live. You might think that is strange, but what would you say if I told you that there are no albums by Garth Brooks either here? The ones I have are all imports. That reminds me I live in the opposite end of the world, but it makes me place a high value on these albums that I import, while it also makes me do my homework and figure out which ones could be sound purchases. Coming back to this compilation, when I bought it I knew I was only getting a part of the story that (while compelling) is not necessarily the defining one. Any compilation that hasn’t got “Mountain Music”, “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” and “Dixieland Delight” (their calling card in South America) is incomplete by definition. It’s like watching Star Wars and omitting the part when Darth Vader reveals he is Luke’s father. In a sense it doesn’t matter because everybody and his wife know that by now. With this compilation, it is the same – everybody knows these compositions I have mentioned by heart. Every single person who is into country music is more than familiarized with them.

Of course, it might be a bit hard to recommend this over the masterful “For The Record” compilation. Released in 1998, that is a defining package, including the best songs found here and the ones that are conspicuous by their absence. Still, “In The Mood: The Love Songs” is an album that presents the band in a favorable light. Songs like “The Closer You Get” and “Feels So Good” do not just showed the way for the genre to go – they were the way to go. Plus, compositions like “Here We Are”, “Touch Me When We’re Dancing”, “Love In The First Degree” and “Lady Low On Love” are major statements on life and love and the thread that unites them.

The mainstream incorporation of country music in South America took place in the 80s – artists like John Denver and Eddie Rabbitt hit very hard back then. But those who were there remember Alabama most of all. Personally, I think that any band that could instill so much respect and appreciation for a genre that is so markedly different from the music that is played in this continent transcends the status of band – its members become true ambassadors. And I can tell all of you in the United States that Alabama did really speak to people here, and they created a cultural bridge that still stands proud and strong after all these years. From the day they began being played in South America, these have been living years from the genre in the continent. If you can find “For The Record” go for it. If not, “In The Mood: The Love Songs” is “close enough to perfect” in many senses, and it will give you the necessary drive to move further into their catalog.

Would I recommend purchase of this compilation: Yes (but go for “For The Record” if you can)

Do I feel like digging deeper into their catalog after listening to it: Yes

Emmylou Harris' "Heartaches & Highways" Compilation Was Released In 2005

A compilation like this one is particularly useful when it comes to artists whose catalogs are colossal in depth. You see, “Heartaches & Highways” (2005) is an anthology which was assembled by Emmylou herself. It is interesting to listen to the story the way she wants to tell it. If you are an old fan, you get to see which songs she deems as the ones that shaped her career. And if you are a newcomer, you have the chance of sampling the songs she might like to be remembered by, effectively getting acquainted with her music like that.

Although not strictly a “best of” album, the CD definitely leans on hits, as her first song to hit the charts with force (“If I Could Only Win Your Love”) is included amid a series of tunes that she has either turned into standards or rejuvenated completely, such as “Two More Bottles Of Wine”, “Lost His Love In Our Last Date” and the sweet “To Know Him Is To Love Him” from the celebrated “Trio” album:

A nice choice (and one that clearly strays from a “very best” motif) is “Pancho & Lefty”. Emmylou’s version precedes the successful take by Willie Nelson and Merle Haggard. While the ones who struck gold where the two outlaws, Emmylou at least pointed the way to the treasure in a very elegant way indeed.

An absolute highlight is her duet with Roy Orbison on “That Lovin’ You Feelin’”. The mix is crisper than the one I had listened to on her “Duets” album, too. The difference is not pronounced, but the guitars have more space and the song on the whole sounds even more refined.

It goes without saying that both “Love Hurts” and “Boulder To Birmingham” are included. These are the songs that open the disc, actually, and they do mark her birth as an artist. She probably feels that part of Gram lives inside her. Every person who ever lost an artistic collaborator or a mentor feels like that. Did Gram instill the love/obsession for sad songs into her? Emmylou thinks as much. I think he instilled a true love for music into her. Events were to dictate that such a love would manifest itself in sad compositions.

Fast forward to the year 2000. The album “Red Dirt Girl” was released. It established Emmylou as a true composer, and reaffirmed her as an overall artist that owed nothing to no-one, and to whom many owed far too much to be repaid. The one selection from that album found here is “Michelangelo”. “It was forgotten long ago” Emmylou writes and sings. What? That love hurts? I don’t know. That she has two more bottles of wine to pass the night? I can’t tell. That she lost love in a last date? We can’t be certain.

That to know others is to love them? No. That is definitely never forgotten. It is what her music will always convey. And this single disc carries that message right into every listener. No wonder the tracks were handpicked by her.

Would I recommend purchase of this compilation: Yes
Do I feel like digging deeper into her catalog after listening to it: Yes

The Album Earned Emmylou A Grammy

This celebrated live album had Emmylou backed by one of the best ensembles of her whole career (The Nash Ramblers), and it earned her a Grammy. The concert was so significant that the Ryman auditorium (which was set to be demolished) was actually preserved and remodeled.

The set Emmylou played that night paid equal debt to both classic and contemporary American tunesmiths. Songs by Stephen Foster (”Hard Times”) were played side to side with songs by John Fogerty (”Lodi”) and Bruce Springsteen (”Mansion On The Hill”).

The performance itself is not only very well-recorded, but Emmylou is charming from start to finish, interacting with the public at every turn, cracking jokes and narrating stories of her life on the road – the one before “Lodi” is one of the funniest I have ever listened to.

One of the definitive highlights of the album is the vocal “Calling My Children Home”, whereas the bluegrass numbers (most notably “Walls Of Time”) basically redefine the expression “raise the roof”. The same can be said about the instrumental piece “Scotland”.

I could find no video of Emmylou & The Nash Ramblers that night, but I did find this one. It was their last performance together, circa 1995. Enjoy!

I am also very fond of “Like Strangers”, yet another Everly Brothers’ cover. Emmylou is one of the very few performers I know that can do their songs in a way that is natural and effective at the same time. Remember what I said about Emmylou’s ability to render other people’s songs? This particular tune is a prime example.

I must admit that I am not very keen on live albums. To give you an idea of how deep that aversion runs, I don’t even listen frequently to the many live Who CDs I have. On the other hand, this album and the 10,000 Maniacs “Unplugged” disc are the live recordings I put into motion most often.

The only complain I have is that not a single signature tune of hers is included. No “Love Hurts”, no “Beneath Still Waters” and no “Two More Bottles Of Wine”. The last one in particular would have stood its ground like nothing else here.

As a conclusion, Emmylou’s live recording is one that warrants all the hype. It is professional, charming, evocative and hard-driving at the same time. It is also an excellent point of entry into her discography, even if not a single hit is featured. I have no reservations recommending it to you.

Rating: 9/10

The Cover Of The CD

The youngest sister of country luminary Loretta Lynn, Crystal Gayle has had career that began at the age of 16 (as part of the Loretta Lynn Show) and which has lasted to this day, yielding no less than 18 number 1 singles.  This cut-cost compilation (first issued by Curb in 1990) boasts a representative number of them along with songs that nearly topped the charts like “When I Dream” (a top 3 hit) and “I’ll Do It All Over Again” (which hit number 2 back in 1977).

I am glad that my two favorite songs by Crystal are included – the adorable “Talking In Your Sleep” and “Why Have You Left The One You Left Me For”. Both compositions were number 1 smashes – the former was the first song of hers I ever listened to, and the latter is one of the faster songs included here in terms of tempo, and one that provides a nice break from the overall mood of the album, which is mostly middle-paced. I am also very fond of the song “Somebody Loves You” – a top 10 hit, and one that melds a bouncy melody with a set of lyrics that are simple but incredibly effective, portraying attachment and loss very deftly indeed.

Of course, there are omissions that some will find a hard pill to swallow – “It’s Like We Never Said Goodbye”, “Til I Gain Control Again”, “Our Love Is on the Faultline” and “Baby, What About You” are some of the number 1 hits not included here. There is a reason for that – the focus of this compilation is her work during the ‘70s. That means that her duets with Eddie Rabbit (“You And I”) and Gary Morris (“Makin’ Up For Lost Time”) are also missing. The latter was a song featured on the “Dallas” soundtrack – as a child of the ‘80s, I recall how much my mother adored the show.

However, I think it would be best not to focus on what is missing and emphasize the fact that some of her most accessible and likeable and characteristic songs are found here. In addition to what was mentioned above, the CD also includes her first-ever number 1 hit (“I’ll Get Over You”) along with “Don’t It Make My Brown Eyes Blue”, a song first issued in 1977 and which was chosen to open this particular compilation.

While some CDs that saw the light a little later on boast a higher number of tracks, this is a cost-effective way of dipping your feet before taking a full dive. It is a good, solid point of entry into her catalog and it shows Crystal in top form from start to finish. Casual fans and newcomers will be the ones that will maximize it for sure. And if they do like this album, they can give Rhino’s “The Best Of Crystal Gayle” (2002) a try, as all of the songs mentioned above that were omitted are included there.

Would I recommend purchase of this compilation: Yes
Do I feel like digging deeper into her catalog after listening to it: Yes

The Front Cover Of The 2 CD Set

The first song by Willie Nelson I ever listened to was “Gulf Coast Highway”, his duet with Emmylou Harris. The song was part of Emmylou’s 1992 compilation of duets, an album released to somehow piggyback on the success of the “Trio” collaboration with Linda Ronstadt and Dolly Parton. As you probably know by now, “Duets” was my first country album ever.

I regarded that particular duet as the emotional high point of the album, and that is a bold statement considering that “Love Hurts”, “That Lovin’ You’re Feelin’” and “Wild Montana Skies” are part of the same compilation. I immediately decided to learn more about Willie, and see which compilation could I find and get my hands on.

As it turned out, this 2 CD set was the one I could find. Now, to get the most immediate problem out of the way once and for all: Willie Nelson is a monumental composer. He made his name penning songs for others as early as the 50s before launching his career a decade later. This 2 CD compilation does not represent that. It showcases him as an excellent performer of other people’s songs. He covers Elvis, The Everly Brothers, Ray Charles, duets with Dolly Parton on her own “Everything’s Beautiful In Its Own Way”, with Julio Iglesias on “To All The Girls I’ve Loved Before”… Every single track is not just good, but actually very enticing. But my point is that out of 30 tracks only 6 are written by him. And they are amazing – “Angel Flying Too Close To The Ground” is mesmerizing and “On The Road Again” showcases himself in such a shape that many other selections seem anomalous.

Of course, this has hits. Plenty of them. “Always On My Mind” is a great song. So is the incredible duet with Merle Haggard named “Pancho & Lefty”, a song which deservedly topped the charts. Watch the performances now if the songs are not familiar to you:

The big crunch, then: is this album worth it? That depends. If you want to have most of his 70s and 80s hits and are happy to listen to Willie as a performer instead of as a composer, it will do the trick. In my case, I wanted to have a better understanding of the man as a songwriter. And I couldn’t have ended up feeling more disappointed. The fact that the best songs on the set are unanimously the ones he penned only aggravate the situation. Personally, this was not a good introduction. But the Willie-penned songs included gave me an added drive to try and find more of his own output, and that is something very positive – how just six songs could set me going like that. I guess that is a testament to his excellence as a composer.

Would I recommend purchase of this compilation: It depends (Read the final paragraph)

Do I feel like digging deeper into his catalog after listening to it: Yes

The Front Cover Of The CD

John Denver (1943 – 1997) was one of the best loved country musicians ever, and deservedly so. He was a compassionate man that was incredibly gifted as a performer, and this compilation (released in 1998) highlights that fact. The title is not 100 % accurate in the sense that not all of the compositions were hits – they were all released as singles, and some flopped like “The Cowboy & The Lady”, arguably the weakest thing on offer here. But regardless of the current performance on the charts, every song is imbued with the characteristics that made John Denver legendary – a great singing voice, an eminent set of melodies and a rush of emotions when one listens to them.

The album includes his mega hits “Take Me Home, Country Roads”, “Annie’s Song” and “Sunshine On My Shoulders”. That alone justifies its acquisition, but the remaining tunes do not lag behind in any sense. Maybe there is a tonal uniformity that makes the first listens to it not the most rewarding task (for example, “Fly Away” and “How Can I Leave You Again” are so similar in terms of melody in several places that it is startling), but after you have given it a few tries it all clicks.

Other highlights include the lovable “Thank God I’m A Country Boy” (with Denver playing fiddle) and the delectable “Dreamland Express”, included because it was a hit on the country charts notwithstanding the fact that it is as poppy as it can get. It closes the album so dreamily that it has any listener wondering what other Denver pop songs are like. Since the album is arranged chronologically, its placement as the last song was not something deliberate but rather something preordained. And it ended playing an incredible motivational role.

This was the second country album I ever bought. The first was Emmylou Harris’ “Duets”, and one of the tracks I loved the most was precisely the Denver duet “Wild Montana Skies” (the penultimate track here). It was so engaging that I picked this one up. Although it is missing some tunes like “Leaving On A Jet Plane” and “Calypso”, it gives anybody a good sampling of the man who stood as one of country’s most affable and talented performers. And on a personal note, it motivated me to continue buying country records. So it fits the bill on every score.

Would I recommend purchase of this compilation: Yes

Do I feel like digging deeper into his catalog after listening to it: Yes