Posts Tagged ‘Skeeter Davis

07
Dec
19

Skeeter Davis “The Best of Skeeter Davis”

There is a “Best of Skeeter Davis” record from 1983, and 1980, and 1973, and 1978, and 1965. There may be more, but I got tired of looking in the internet. For the most part, they are the same songs—I mean, the first one kept getting reissued—though I noticed some variations. Anyway, this one that I’m listening to right now is a fine vinyl copy from 1965, RCA Victor, mono, 12 songs, it sounds great. On the front cover there’s nice picture of Skeeter, kind of Olan Mills style, that’s in a squarish rectangle with rounded corners that resembles the screen of 1960s television. It says “The Best of Skeeter Davis” and lists the songs. The letters in her name is each a different color. People could get color TV in the early 60s, but 1965 is considered the year the damn burst. It was often advertised by making each letter a different color, such as with the “Color TV” signs at motels. There are brief, very introductory, uncredited liner notes on back, referring to her as a “vivacious blonde Kentuckian.” She was both young and old at this time (around 34) and was, of course, already a star, with half a dozen LPs, lots of singles, and some hit songs. A “best of” record already made sense.

Every song on this record is good, and I could write an article about each one, but I’m not going to even mention them, I mean, individually, at this point, since they’re all on other records that I’ve written about, or am going to write about. No… maybe should… I’m listening to this again. It’s such a great record… every song is good. It’s like the classic county record of all time. Twelve songs by 12 different people or songwriting teams (including one by Skeeter Davis and Carolyn Penick), but somehow, it’s like every song is a Skeeter Davis song, once she’s singing it. She’s like Sinatra in that way. I wonder if those two ever met. This record would be a great birthday or Christmas present for someone—someone who maybe isn’t already a big Skeeter Davis fan, and you want to introduce her to. If I ever see other copies of this for a reasonable price (or the reissued versions), I’m going to buy them and then give them away as presents. Instead of the guy who gives you books you don’t want to read, I’ll be the guy who gives Skeeter Davis records to people who don’t like country music and don’t have record players!

31
Oct
19

Skeeter Davis “My Heart’s in the Country”

This record has the best cover of all the Skeeter Davis records I own (which is a lot, but not nearly enough of them). It’s a full cover color photograph of Skeeter sitting in a barnyard wearing a red and white gingham dress, holding a baby pig. As cute as she is, the pig’s even cuter. The photo is weirdly cropped, as in it doesn’t look cropped—I’m guessing they took a few, but there weren’t a lot to chose from that had sufficient focus when blown up that large, because, I’m no expert, but I believe those little pigs are kind of squirmy. It’s a great cover. There’s also substantial liner notes on the back, by Skeeter Davis, which I’ll read in a bit. I was going to say this isn’t my favorite of her records, which it isn’t, but now that I’m listing to it a few times, while writing this, it’s growing on me. Skeeter Davis records will do that. The title song (by Larry Kingston and Felton Jarvis) is about a singer who has big city success, but nevertheless, she sings, “My heart’s in the country, on a farm in O-hi-o.” Which, of course, strikes a chord with me, as an Ohioan. She is from Kentucky, so this song is a character, but also her, and southern Ohio and Kentucky do have a border, but it’s not necessarily the one drawn up by The Man. Now that I think about it, maybe it’s the Ohioan in her (as well as the Kentuckian in me) that draws me to her so intensely. This song also has one of those spoken parts, which I’m sure some people find corny, but I love that, especially when Skeeter Davis does it.

One thing that’s interesting about Skeeter Davis is that she had success with both pop and country audiences, which is something she talks about in the liner notes, maintaining that her roots are in the country (and this country music). I’m personally not partial to either the pop music or the country music she’s recorded—I must say, I like both equally—and sometimes you can’t really hear a line between them (but sometimes you can). As I’ve said before, above all, I’m song oriented, so it matters little, the genre or style—I’ll like a song, or not so much. The biggest generalization I make when I’m categorizing music I like or don’t like is the degree of jauntiness—and I’m sure people are tired of me using that word, but it best expresses the thing that often turns me off. (Of course, I’m sure there’s a jaunty song out there that I do like, but I can’t think of one right now.) Naturally, both country and pop songs can be jaunty. On this record, which is all hardcore country songs, we have the jaunty and the not jaunty. The not jaunty ones tend to be sad and melancholy—those are my favorites. A few of my favorites here are “Put It Off Until Tomorrow” (by Dolly Parton and Bill Owens), “I’m Living in Two Worlds” (J. Crutchfield) (not about the two worlds of pop and country—it’s a relationship song—and a sad one). And “Before I’m Over You” by Betty Sue Perry, another in the tradition of losing one’s mind (going crazy, insane, etc.) over a love gone wrong. Of course, there are songs that are kind of in between sad and jaunty, the clever country songs—one here I like a lot is “Guess My Eyes Were Bigger Than My Heart,” by Liz Anderson (I always liked that expression, about eating, and there’s nothing I like better than the tradition of inserting “heart” in every expression imaginable).

These liner notes are Skeeter answering the question, “What’s the country like?” She goes on and on with nostalgic descriptions of the things she remembers and loves about country life—sure, it’s sugary and sweet, but really kind of touching, too—at least to me. My favorite part of it is where she’s talking about mothers and fathers, now gone, their particular smells, and she says, “And they were smells you’d like to smell again, but can’t.” I guess that reminds me of what I like about Skeeter Davis—there is this simplicity, clarity, a kind of innocence, but never without an underlying melancholy and world weariness. It also reminds me that I have this autobiography she wrote, called Bus Fare to Kentucky, which I still haven’t read—I’ve got to read it sometime.

23
Feb
19

Skeeter Davis “The Closest Thing To Love”

Skeeter Davis probably isn’t really my favorite singer—I mean, who is?—there are so many singers I love, and who can really say their favorite anything, unless they’re making a point of it—it’s a form of hyperbole meant to make people take notice. But her singing voice just really holds some special place for me. I suppose to many people, she has a kind of corny quality, but I see (and hear) behind that. No singer doesn’t have some pain behind their singing, and many exploit that, whether consciously or not. For whatever reason, I feel like she hides the pain—it’s not anywhere near the surface—but that quality of it being so deep, so hidden, maybe that’s one of the things that appeals to me so much about her singing.

This record is a relatively late one for her, 1969, even though she kept making records for another 20 years or so. It’s more or less her 20th LP, since she put out a couple a year in the Sixties. The cover is pretty urban and sophisticated in relation to many of her early ones. She’s wearing a fur collar and hat—you kind of wonder how hot and uncomfortable that photoshoot was. Like all of her LPs, there are six songs per side, ranging from two minutes to 3:15—“Angel of the Morning”— which is the heavy one here—I mean in recognizability—you’ve heard it, no doubt, because it was a hit song for Juice Newton in 1981—though it was written by Chip Taylor in 1966, and recorded by pretty much everyone. The version here is great. The album starts with a nice song called “Keep Baltimore Beautiful” (one of many, many songs with “Baltimore” in the title). Then there is a song called “Little Arrows,” and if you want to know what kind of jauntiness really gets on my nerves, check this one out—it’s not just annoying, it’s kind of insane. I looked it up and it was hit for someone named “Leapy Lee” in 1968. At that point the rabbit-hole warning light came on, so I wisely exited the internet.

My favorite song on the record is probably “They Don’t Make Love Like They Used To,” credited to Red Lane, a Nashville songwriter—just one of those classic sounding country songs I really like. Though all the songs are really pretty good, including the couple that Skeeter Davis wrote. The other real standout is the last song on the record, the title song, “The Closest Thing to Love (I’ve Ever Seen)”—credited to Ronny Light, who also wrote the first song, and was an arranger on this record—no doubt one of those kind of amazing Nashville pros. He also wrote the liner notes on the back of the record, a kind of sweet appreciation for Skeeter Davis, signed “A Skeeter Davis Fan.” Some day maybe I’ll meet another Skeeter Davis fan—we’ll have a lot to talk about.

17
Sep
17

Skeeter Davis “Sings The End of the World”

This 1963 LP starts out with Skeeter Davis’ 1962 hit single, “The End of the World,” written by Arthur Kent and Sylvia Dee. The song was a huge hit, recorded by tons of people over the years (including the Carpenters), and used in countless movies and TV shows. You’ve probably heard it. I still like this version of it best (of those I’ve heard). The album, then, like most of her LPs, has six two to three minute country and pop songs per side. They’re all good. This is a solid Skeeter Davis record, through and through. If you were going to buy only one of her records, this could be the one.

There’s a picture of her on the back, in the studio with Chet Atkins, who produced a lot of her records. He looks like a bad-ass. The three B&W photos of Skeeter on the front and back of the album cover look like three different people—and two of them remind me strongly of other people. She had a lot of different looks over the years, and online now you can find about a million images of her; there must be other people out there as obsessed with Skeeter Davis as I am. The liner notes, by (it doesn’t say), start out talking about the thirteenth and sixth letters of the alphabet—M and F—and the significance of these letters, in standing both for “Many Fans” and “Mary Frances” (Skeeter’s given name). Those letters bring something else to my mind—yes, “My Friend”—which might be the best way to describe the way I feel when I listen to Skeeter Davis sing.

Had I read these liner notes in 1963 (and been a few years older), I might have been crushed to discover that SD was married to country music DJ, Ralph Emery (or maybe delighted to find out she had a Pekingese named Tinker)—and this may well have been the first time I put together the idea of equating the heartbreak of lost love with Armageddon. I appreciate, even now, the strength of the sentiment, but the years have only revealed the selfishness of this sentiment. You’re going to get over the heartbreak—no reason to upset the game-board for all of humanity. Though—only a year after this record—someone very close to me took this “all or nothing” crap very literally; not to get too personal, but it sickens me to this day. Not to end this review on such a grim note: my favorite songs (as well as the title song), here, are “Mine Is a Lonely Life,” “Why I’m Walkin’,” “Longing to Hold You Again,” and “(I Want to Go) Where Nobody Knows Me.” Yes, the sad ones—it’s always the sad ones for me.

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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