Post by gregg on Jun 9, 2007 14:19:30 GMT -5
KNOCK THREE TIMES
The opening track is a perfect blend between Buddy Spicher’s fiddle and Lloyd Green’s steel guitar. In listening to the musicianship between these two gentlemen, it is easy to understand how these two helped create the sound we would come to know as “country-rock.” They were doing in Nashville at this time what Rick Nelson and the Stone Canyon Band (not to mention the Eagles) were doing on the West Coast.
CRASH truly makes this song his own. It is also easy to spot a hint of his early R & R vocals as he sings, “Oh, my darling - knock three times.” Its a great opening cut, and an excellent opening to the record. ESSENTIAL LISTENING !
COUNTRY PRIDE
After doing some reading into CRASH’s upbringing, it is easy to assume that this song must be biographical. Written by his future manager (Dale Morris), this songs wonderfully depicts the simplicity that is country living. CRASH’s superb reading of this song is amazing. From its simple opening question (“Did you ever see the winter’s sky through cracks in bedroom walls”) to its poignant chorus (“country pride, country pride - you may leave there, but you carry it inside”) it is simply an amazing song. Even though it wasn’t written by CRASH, it is his “Coal Miner’s Daughter.” This song tells us where CRASH came from and why he is the person is still is today. A MUST HEAR !
HIDE & SEEK
This is 2:11 of CRASH at his playful best. It is a simple little song that showcases CRASH’s ability to do a little western swing music. It also again gets to show what a marvelous steel guitar player Ron Chancey brought in in Lloyd Green. There’s nothing spectacular about this song, but you can’t help but enjoy this harmless track.
CONFIDENCE & COMMON SENSE
Long before the world had heard of Alan Jackson and his song “Livin’ on Love”, a song he wrote about his parents, CRASH was singing this song about a generation that knew the meaning of “for better or worse.” CRASH is so believable when he sings, “Daddy had confidence and common sense and a woman like momma to lean against” that you know he knows what he is singing about. When he tells us that these two were strong on “faith and love”, you know he himself knows these are two essential elements to a strong foundation.
HOME IN TENNESSEE
This song has a nice simple easy-flowing melody that is somewhat similar to Glenn Campbell’s “Gentle on My Mind”. Its message is simple: happiness is found in wanting what you have, not from wanting what you don’t have. Kelso Herston’s dobro makes that point ever so clear as it accentuates CRASH’s reflective singing on the lines, “there’s nothing out there batter than your woman back at home, and nothing holds as well as your own child.” I could be wrong, but considering how many years CRASH and his lovely wife MAE have been together, it seems obvious to me that CRASH knew this was true - unlike the individual in the song who only realized what he had after he had lost it. A PERSONAL FAVORITE.
MENTION MY NAME
This is a perfect snapshot of what country & western music sounded like in the late 60’s to early 70’s. The drawl in CRASH’s voice and the prominent use of the steel guitar make it a classic country song. Its a song so full of regret and sorrow that its easy to imagine this playing somewhere on a jukebox in a bar full of smoke and broken hearts. Jim Ed Brown should have cut this song.
LONELY BOY
In what would become common practice on his future albums, CRASH reworks a classic R & R song and makes it his own. This time its Paul Anka’s teenage anthem
“Lonely Boy.” There is nothing wrong with CRASH’s performance or the musicianship on this track, but for me the up-tempo steel and fiddles seem out of place on this song. It just doesn’t work for me, and its my least favorite track on the album.
I RAN OUT OF TIME
This is Kelso Herston’s moment to shine. The dobro is masterfully played at the beginning and throughout this song. It perfectly establishes the mood of the narrator who is looking back at his life while contemplating suicide. When CRASH sings, “As I sit here on this bridge, Lord, it’s so dark I feel blind - you know I wanted so many things, but I just ran out of time,” it becomes painfully obvious that he is going to jump. The passion in CRASH’s voice, and Herston’s eerie dobro playing are a perfect combination.
TREAT HER RIGHT
This is another R & R cover by CRASH. This time he takes on Roy Head’s classic “Threat Her Right.” As you listen to this song, it is obvious that this is the moment that “Mr. Country Rock” was born. On that day, in Woodland Sound Studios, CRASH was hitting on all cylinders. When he sings the “hey, hey, hey” in the song’s bridge, he knows he’s got a good thing going on. He is truly in command when he instructs the band by playfully telling them to “play it children.” This should have been the follow-up single to “Knock Three Times” instead of being buried on the flipside of “Afraid I’ll Want to Love Her One More Time.” WORTH THE PRICE OF ADMISSION.
THE BEST I EVER HAD
Another country weeper from CRASH. It’s led off by some great piano work from Kenny Rogers’ future superstar producer Larry Butler. This is another song full of reflection and regret. It’s not my favorite type of music, but it is an excellently produced piece of country and western music circa 1971.
Final Thoughts...
A fantastic album from CRASH. It’s obvious that Ron Chancey had the right vision, and the right man for the job. This was just the beginning of a great partnership and some great music. **** 1/2
The opening track is a perfect blend between Buddy Spicher’s fiddle and Lloyd Green’s steel guitar. In listening to the musicianship between these two gentlemen, it is easy to understand how these two helped create the sound we would come to know as “country-rock.” They were doing in Nashville at this time what Rick Nelson and the Stone Canyon Band (not to mention the Eagles) were doing on the West Coast.
CRASH truly makes this song his own. It is also easy to spot a hint of his early R & R vocals as he sings, “Oh, my darling - knock three times.” Its a great opening cut, and an excellent opening to the record. ESSENTIAL LISTENING !
COUNTRY PRIDE
After doing some reading into CRASH’s upbringing, it is easy to assume that this song must be biographical. Written by his future manager (Dale Morris), this songs wonderfully depicts the simplicity that is country living. CRASH’s superb reading of this song is amazing. From its simple opening question (“Did you ever see the winter’s sky through cracks in bedroom walls”) to its poignant chorus (“country pride, country pride - you may leave there, but you carry it inside”) it is simply an amazing song. Even though it wasn’t written by CRASH, it is his “Coal Miner’s Daughter.” This song tells us where CRASH came from and why he is the person is still is today. A MUST HEAR !
HIDE & SEEK
This is 2:11 of CRASH at his playful best. It is a simple little song that showcases CRASH’s ability to do a little western swing music. It also again gets to show what a marvelous steel guitar player Ron Chancey brought in in Lloyd Green. There’s nothing spectacular about this song, but you can’t help but enjoy this harmless track.
CONFIDENCE & COMMON SENSE
Long before the world had heard of Alan Jackson and his song “Livin’ on Love”, a song he wrote about his parents, CRASH was singing this song about a generation that knew the meaning of “for better or worse.” CRASH is so believable when he sings, “Daddy had confidence and common sense and a woman like momma to lean against” that you know he knows what he is singing about. When he tells us that these two were strong on “faith and love”, you know he himself knows these are two essential elements to a strong foundation.
HOME IN TENNESSEE
This song has a nice simple easy-flowing melody that is somewhat similar to Glenn Campbell’s “Gentle on My Mind”. Its message is simple: happiness is found in wanting what you have, not from wanting what you don’t have. Kelso Herston’s dobro makes that point ever so clear as it accentuates CRASH’s reflective singing on the lines, “there’s nothing out there batter than your woman back at home, and nothing holds as well as your own child.” I could be wrong, but considering how many years CRASH and his lovely wife MAE have been together, it seems obvious to me that CRASH knew this was true - unlike the individual in the song who only realized what he had after he had lost it. A PERSONAL FAVORITE.
MENTION MY NAME
This is a perfect snapshot of what country & western music sounded like in the late 60’s to early 70’s. The drawl in CRASH’s voice and the prominent use of the steel guitar make it a classic country song. Its a song so full of regret and sorrow that its easy to imagine this playing somewhere on a jukebox in a bar full of smoke and broken hearts. Jim Ed Brown should have cut this song.
LONELY BOY
In what would become common practice on his future albums, CRASH reworks a classic R & R song and makes it his own. This time its Paul Anka’s teenage anthem
“Lonely Boy.” There is nothing wrong with CRASH’s performance or the musicianship on this track, but for me the up-tempo steel and fiddles seem out of place on this song. It just doesn’t work for me, and its my least favorite track on the album.
I RAN OUT OF TIME
This is Kelso Herston’s moment to shine. The dobro is masterfully played at the beginning and throughout this song. It perfectly establishes the mood of the narrator who is looking back at his life while contemplating suicide. When CRASH sings, “As I sit here on this bridge, Lord, it’s so dark I feel blind - you know I wanted so many things, but I just ran out of time,” it becomes painfully obvious that he is going to jump. The passion in CRASH’s voice, and Herston’s eerie dobro playing are a perfect combination.
TREAT HER RIGHT
This is another R & R cover by CRASH. This time he takes on Roy Head’s classic “Threat Her Right.” As you listen to this song, it is obvious that this is the moment that “Mr. Country Rock” was born. On that day, in Woodland Sound Studios, CRASH was hitting on all cylinders. When he sings the “hey, hey, hey” in the song’s bridge, he knows he’s got a good thing going on. He is truly in command when he instructs the band by playfully telling them to “play it children.” This should have been the follow-up single to “Knock Three Times” instead of being buried on the flipside of “Afraid I’ll Want to Love Her One More Time.” WORTH THE PRICE OF ADMISSION.
THE BEST I EVER HAD
Another country weeper from CRASH. It’s led off by some great piano work from Kenny Rogers’ future superstar producer Larry Butler. This is another song full of reflection and regret. It’s not my favorite type of music, but it is an excellently produced piece of country and western music circa 1971.
Final Thoughts...
A fantastic album from CRASH. It’s obvious that Ron Chancey had the right vision, and the right man for the job. This was just the beginning of a great partnership and some great music. **** 1/2
