Livin'

Rating ****   

My reaction followed the single's release.  As I noted, one of the sextet's acoustic guitarists, lead singer Andy Eutsler, who wrote Lies, is "one heckuva songwriter."

With Livewire's release of Livin', my introduction to the group (which also includes lead electric and acoustic guitarist Bobby DeGonia, fiddler Cory Schultz, drummer Adam Hagerman, bassist Landon Rolfe and electric, rhythm and acoustic guitarist Danny Bell)  and to Andy's songwriting has increased my appreciation of their talent. 

Andy wrote the title song, a commentary on what represents the good life, depending upon one's vantage point, maturity, etc. as well as I'll Go To Prison, a dark, testosterone-filled threat, promise, expression of defensive love for family or morality play, depending upon whether the listener takes the message as bluster or the end result of provocation.

The balance of these songs are seemingly designed to be radio-friendly.  Not that there's anything wrong that, but the depth and originality of Eutstler's songs set a pretty high benchmark. 

This is not to say, as is so many times said about a lead singer, that, in reality, s/he is the group.  All six members of LiveWire are integral to the group's sound and their performances of each of these songs, 10 in all, are faultless

Rather, this group can only play to its strengths as it is able to articulate them.  Danny Bell's songs (History and, to a lesser extent, What Makes You A Man) show promise and I'd be interested to see on LiveWire's next CD what a songwriting collaboration between Eutstler and Bell might look like.

Don’t be thrown by the title.   Though on paper it might appear that a 2-CD set released 48 years after Jim Reeves’ death, especially one with the word “new” in the title, might reek of the type of exploitation associated with reissues of an artist’s work, not to mention squeezing the last penny out of what a dead artist might have, intentionally or not, left in the can, that assumption is this case is as unfair as it would be misleading.

To begin with, Jim Reeves: The New Recordings is not a greatest hits (or even misses) collection.  Rather, the 42 songs found here, thanks to new technology, with an occasional demonstrable audible bow to the imperfections of the old, are used to supplement a narrative that is intended as a companion guide to Larry Jordan’s awarding-winning 672-page book, Jim Reeves: His Untold Story.

But in an age of instant gratification and diminishing attention spans, a nation of readers has, at best, slowly been usurped by an audio book culture.  So while these CDs are not the audio version of Jordan’s book, they are a great marketing tool for the tome, even as this venture can be enjoyed independently of the book project.

The CD kicks off with a cold opening:  Reeves’ spoken greeting. Then, amid an instrumental background, voiceover veteran Dan Hurst sets the table by informing listeners, as the music trails off, that they are “about to embark on a musical journey through time.  Hurst tells Reeves’ story in chronological order, punctuating the narrative not only Jim’s most familiar songs, but also “rare and previously unreleased material.”  Some of the recordings have been “stripped down to the bare essentials” and “digitally remastered” for “better clarity” and, in the opinion of those associated with the project, “updated with tasteful new accompaniments,” (replete with both the pros and cons of say, colorizing, black & white movie classics) courtesy of Larry Jordan.

While, as Paul Harvey said, “the hen that lays the golden egg has a perfect right to cackle,” some of Hurst’s statements such as “Your ears are in for a treat,” while true, seem at best superfluous when, as always, the popularity of Reeves music speaks for itself.

While some of the musical selections have been excerpted (e.g., Mexican Joe runs only 48 seconds), like some of the interviews likewise presented, there’s no reason to question the judgment call.  After all, proper pacing is as important to an enterprise of this magnitude as is the mix of  various audio components- Jim’s studio hits, his “live” recordings,  the Blue Boys’ instrumental performance of Wheels,  Dan’s narration, Larry’s commentary, Jim’s audio diaries, separately recorded interviews with Jim and Mary Reeves,  Jim’s acting as a commercial  pitchman,  (breaking) news reports-  that serve to provide both narrative and transition.

Famous during his lifetime for recording and releasing duets with Ginny Wright and Dottie West, Reeves’ posthumous pairings with Patsy Cline and Deborah Allen have been variously hailed as the logical outcome of then-new technology and dismissed as novelty numbers- or worse- by purists and critics.

This project finds Barbi Franklin, no stranger to duets and a fine singer in her own right, game, as it is Franklin's vocals that are featured on yet another posthumous pairing:  Reeves’ recordings of Making Believe and  How’s The World Treating You?     (Listen for Barbi’s solo on Jim’s recording of Someday.)

At least one error in Jordan’ book has been corrected (though an opportunity was missed to note same as the correction is uncredited) within the context of Larry's commentary for this recording.  Jordan’s passion for his subject really comes through in those asides.

So- it should come as no surprise that, once again, Larry Jordan has outdone himself with yet another labor of love.

Given storage limitations, I give away most of the promotional records I receive.  It some cases that’s an easy thing to do, in others my wants are not options. 

But just as I won’t part with Larry’s book, because it is an historical treasure- Jim Reeves: The New Recordings (a must purchase for rabid Reeves fans and well as an inspired choice for fans of good music) a is a keeper!

Hangin with Stogie might seem apostrophe-challenged (the name of the band is, itself, derived from what was initially, at least, an inside joke that name-checked a dog that could easily serve as the girls’ mascot).  But the Fredericksburg, Virginia teen-aged trio (Christina Reese- drums, cello, piano, vocals;  Kylie Westerbeck- bass, ukulele, vocals;  Megan Green- guitar, lead vocals) is up to the greater challenge of taking Music Row by storm.

To wit: Summer All Year Long is a nine-song collection of original material, save for an unexpected arrangement of Bob Dylan’s It Ain’t Me Babe.   The former is also the title song (a wistful, feel good, potential seasonal recurrent) while the latter commands the listener’s attention as much or more than the work of that subset of the legions of other artists  (Dino, Desi & Billy and Johnny Cash and June Carter come to mind) whose interpretations served to put their original stamps on Dylan’s classic.

The other seven songs are likewise compelling.  The lighter fare will resonate most with Taylor Swift’s fan base (hardly a surprise, since Swift is one of the girls’ musical influences) but, as with some of Taylor’s compositions, there is a noticeable maturity seemingly beyond the singers’ years, evident in the choice of songs rounding out the album.   

Listeners have Jeff Silverman (who oversaw the final mixing and mastering of this recording at Nashville’s Palette Studio) to thank for bringing Hangin with Stogie to my attention.  Jeff also sent me a copy of Christina Reese's first solo effort; (a pop remake of a song Silverman co-wrote with Pamela Phillips Oland),  Debra Lyn’s seasonal favorite, Save the Mistletoe for Me.

Andy Reese (who directed me to the band's website, the aptly-named hanginwithstogie.com, and is one of the girls' biggest supporters) is the proud father of Christina who, by the way, at 13, is Hangin with Stogie's youngest member!

If the listener can get past the fact that this 11-song digitally-mastered compilation omits Okie from Muskogee (significant, because for over 40 years Merle Haggard has performed his signature song, depending on the era and venue, with varying degrees of earnestness and tongue-in-cheek humor).

Haggard’s hits span over 45 years and are far too numerous to include on a one CD, but this package is a good “fix” for fans who can’t get enough of If We’re Not Back in Love By Monday,  It’s Been a Great Afternoon and   Ramblin’ Fever, as well as Merle’s display of his more contemplative side with songs like I’m Always On a Mountain When I Fall, Misery and Gin, The Way I Am and I Think I’ll Just Stay Here and Drink.

 The Kris Kristofferson-inspired Red Bandana and the Hag’s tribute to Elvis Presley, From Graceland to the Promised Land, also included as are “live” versions of Rainbow Stew and Red Bandana.

Similarly, with album notes indicating that Marty wrote six or co-wrote six of these songs, the listener is reminded of just how commercially popular Stuart is as a songwriter.

Burn Me Down sets the stage for performances that rock rather than suggest Marty has any interest in becoming a balladeer.  Now That’s Country, Stuart’s musical statement about his roots and that of the music he loves, is followed by his take on Don’t Be Cruel (To A Heart That’s True), which unlike, Elvis Presley’s original, is most memorable for an absence of The Jordanaires.

Tempted, Kiss Me I’m Gone, as expected, High on a Mountain Top, You Can’t Stop Love and Thanks to You- they’re all here- but it’s the combination of Marty’s vocal and the background vocals that make the chorus of Western Girls stick in the listener’s head.  

Stuart’s signature song, Hillbilly Rock, rounds out these enjoyable moments of classic recordings. The undisputed "Father of Bluegrass Music," William Smith Monroe attained "icon" status early on.  As a result, Monroe had and has scores of musical acolytes, apostles, admirers and even imitators; some of them who clearly have learned from the Master.

Butch Baker, who had a recording career of his own back when Todd Fritsch was a Texas toddler, produced Todd's new CD; a collection of 12 songs Todd terms his “best ever” project guaranteed to curry favor with Fritsch fans.

Arguably that is due to the assistance of Dean Dillon who co-wrote five of the songs including the title track, a duet featuring Dean and Todd using the vantage point of the view afforded from atop a horse as a metaphor affirming the wisdom of pausing, when overwhelmed by circumstances, long enough to gather strength and to stop and smell the roses, as it were.
                                                          
I can’t improve upon Fritsch’s description of his latest collection of songs (“It’s about me, where I’m from and how I feel about life, with a few rowdy songs thrown in for good measure.”) except possibly to single out, for special consideration, what I feel is the best song on the CD: Calls I Haven’t Made; a Fred Wilhelm and Michael Terrence Post composition with a message for most of us.       

Hand to the Plow is being publicized as being “filled with a Country Spirit “ and “a wonderful selection of message songs.”   It is that, but in spots it’s a bit preachy for a country album.

The final verse of When He Reigns It Pours is a prime example: A bouncy hand-clapper, the song is better than many, if not most, probably written around a catchy hook.  What Have I Done To Deserve This is no less subtle.    Like You’ve Got To Move, a #1 song in Christian Voice and Cashbox, these songs are better suited to the Christian music market.

Perhaps Marty’s producer, Mark Carman anticipated such criticism.  If so,  when the decision was made to cover Bill Monroe’s Workin’ On a Building,  (a Country Music Foundation favorite, no doubt), Trace Adkins, Jimmy Fortune and T. Graham Brown were recruited to join Marty on vocals.

The decision to include He’s Still My Little Man (Matty’s Song) as one of the tracks on this 10-sided seems strange.  If you feel like you’ve the song before, I feel like I’ve reviewed it before.

We’re both right:  It’s was on Marty’s last CD, At His Best.

Raybon is truly at his best when zealotry does not override the message of inspiration as with I’ve Seen What He Can Do and He’s Still Doing Miracles Today.  These songs are in your face without being offensive.

Walking With God at a Guilty Distance is another song that causes the listener to think (though it isn’t manipulative or cloying as some of these songs are, again in spots).

You Get Me, like You Light Up My Life, can be interpreted a couple of different ways.  The latter was actually a statement of religious faith written so that if its true meaning was not understood it made for a good, commercial love song.   I suspect Raybon and his co-writer, Barry Hutchens had the same idea in mind as the late Joe Brooks when he wrote his Grammy award-winner.