Posts Tagged ‘Nashville

19
Dec
17

Vikki Carr “Nashville by Carr”

Vikki Carr has always been there, it seems like, but I realized I knew nothing about her. I was reasonably certain that Mr. and Mrs. Carr didn’t have a daughter and name her Vikki. Her story is kind of fascinating, and you too can read about her on the internet if you’re so inclined. I hoped for more from this record, the pun of the title kind of implying it’s her “country record,” but it’s not really very country, though she does do some great songs by some great songwriters, and it’s recorded in (you guessed it) and some heavy studio guys play, but overall, the arrangements strike me as flat as the photo collage on the back album cover. The problem is, the surface of this album cover is a very porous cardboard—actual textured surface, like something you do pastels on, but when you reproduce photos on it, especially smaller ones with a lot of detail, you get fuzzy, flat, sadly unimpressive images (and it doesn’t help that she has a Bride of Frankenstein hairstyle, like the guy singing with the James Gang in 1974—maybe he was influenced by Vikki Carr). The album opens up, revealing a 12 by 14 inch panoramic photo of Vikki Carr sitting on the white fence of a horse farm; the problem is, the art department was so obsessed with symmetry, they put Vikki right in the crease, making her look like a Mad Magazine inside back cover “fold-in.” It’s an appropriate album cover given the arrangements.

Overall, this record strikes me as so uninspiring that I’m listening to it over and over, thinking there must be buried treasure there somewhere, because I expect more from 1970. I keep listening, but no. I guess the one thing that’s good is I can play this record and not get annoyed by it—but is that what you’re shooting for, as a musical artist?—to not annoy people? Okay, here is one interesting thing—she does Kris Kristofferson’s pretty great and fairly over-the-top song, “Sunday Mornin’ Comin’ Down.” Now, this isn’t a gender-specific song, but there is something about the imagery that you just really picture it being a man singing, there, in first person. Is that sexist of me to say that? I don’t mean that I disapprove—in fact, this is the world that I want: women wandering alone through the park, half drunk, watching a father with his son, smelling bacon cooking somewhere, and longing for something from the near or distant past. I guess if I was a DJ, like in public, what I’d aspire to do is play songs that blew people’s minds—just a little bit. So I could see playing this one. It’s a really vivid song—and I have no idea if Vikki Carr was a drinker or not—but it’s kind of hard for me to imagine her chugging beer for breakfast.

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10
Sep
17

Porter Wagoner and Skeeter Davis “Sing Duets”

I have more records by Skeeter Davis than any other recording artist, but I don’t have even half of the albums she released in a long career. If I had to name a favorite singer (please don’t make me do that) I would not hesitate to say Skeeter Davis. For some reason I can’t explain, she has a special place in my heart. And that is just based on the recorded music of hers I’ve been lucky enough to hear. She is firmly based in country and western, but crossed over to pop, and always sounds to me like a little of both, so maybe that’s part of the appeal. But mostly I just love her voice. It always strikes me as having an underlying sadness to it, but also an outward expression of hope, joy, and happiness. But there also is just a quality of someone singing at home, maybe, just one person to another. Or maybe in church, or while working. Her voice always strikes me as the opposite of slick, professional, over-produced. I guess in some sense, there is the same essence of what is essential to me about punk music in her voice, and that is at the heart of the music I love—that quality of “I’m doing it my way”—even when the smoother road might have been strongly suggested as the easier path to success.

This record, from 1962, is one of her earliest albums, and it’s a duet record with Porter Wagoner, who is, of course, one of the giants of country music. I’ve always been aware of him, but never a big fan, which doesn’t mean I might not be someday, if I’d take the time to get to know his music through and through. It starts out with a song that—if this was the song I was to judge Skeeter Davis on, that’d be my loss—not my kind of song. If there was one word I’d use to describe a style of music (any music) I don’t like, it would be “jaunty”—and so much do I despise jaunty music, it makes me wonder about the sanity and even human quality of fans of the jaunty (as in, are they pod people, or Stepford wives?) After that alarming start, though, they settle into really beautifully sung versions of some classic country songs—sweet, introspective, and melancholy. My favorites here are: “Have I Told You Lately That I Love You,” “Heaven Help Me,” “Sorrow’s Tearing Down the House (That Happiness Built),” and “There’s Always One (Who Loves a Lot)”—but really, they’re all good.

This is on the RCA Victor label (with the dog looking down the Gramophone horn) and has a very old-fashioned, color drawing of the two singers on the cover, in a style that makes me think of a young adult romance series book. The blond woman in a blue dress doesn’t match that much any likeness to any Skeeter Davis photo I’ve seen. A sliver of photograph on back (of part of the recording studio control board) accompanies some extensive liner notes in typewriter font by Bill Porter (legendary Nashville recording engineer) where he goes on about how much he loves these songs, but also thinks highly of the artists. It’s very nice, really, but then he goes on about especially one song, which happens to be the jaunty song on here I don’t like (“Rock-A-Bye Boogie”). Oh, well, I guess it’s all a matter of taste, and that’s what makes the world interesting. As I continue to listen, it strikes me—as well as these two voices compliment each other, Porter Wagoner’s is so straight-up country, that—and especially on the kind of duet where he sings a verse, and then she does—you really hear a contrast in their voices—and the quality of her voice (that’s an ongoing obsession with me, trying to understand why I love it so much) it occurs to me that it sounds a little unhinged—if you know what I mean. You probably don’t, but I mean that in the best way.




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