I know I've not been here forever, and I won't be here a lot. I made the decision last fall that my two main (moneymaking) jobs have to take priority and that I will get in here as time allows.
I really do miss the music business so I can't give it up entirely.
I had the pleasure of seeing a dear friend from Texas at a writer's conference last fall. Mike Blakely is such a talent and sweet man . He is a Western author as well as a musician. I've known him for over 25 years yet we see each other so infrequently. He was disappointed to know I was stepping away from the music but completely understood. Being an author takes a lot of time, especially if you are an Indie author.
I need to publish at least two books this year and that's going to take a lot of time and work. I also have an Etsy shop I re-opened this week. The plan there is to destash a lot of my cumulative art items so others can use them and I can pad the bank account. Bob really wants/ needs to retire. He's been on the river for almost forty years! He needs 'Bob' time where he doesn't have to think in terms of having to go back to work.
So, please, bear with me as I make this transition. I'll still be reviewing CDs on occasion and interviews here and there.
I also had a post unpublished by Blogger saying I violated their content policy. I can't for the life of me think of what that might have been, nor do they tell you what the post was. I'll keep an eye on that.
Watch for a post coming soon about the future of Kelly's Country.
In the mean time, I received a request from a man I consider a dear friend. Mind you, he had contacted me through the form here on the blog - sending to my gmail. I hardly ever go to my gmail. Was only because I was looking for an email from my sister that I found his email - from June! I'm talking about non author than the very talented, Randy Lewis Brown.
Photo courtesy of David Bourke
Randy has a new CD coming out September 30th from Berkalin Records. This is his fifth album.
Randy talks about his new album:
If I have learned anything in my short time on earth, it is that change is all there is. Nothing ever remains the same.
If you're not familiar with Randy and his music, there's something you need to know. He tells a story in a unique voice. A voice that comes from life experience - the good, the bad and the ugly, yet always sharing a ray of hope in every lyric.
WIND OF CHANGE is one of those collections that are perfect to just chill and maybe reflect on the changes in your own life. A bit of melancholy that lulls you into the belief that regardless of how crappy your day was, there's a chance tomorrow will be better.
I review a lot of CDs but very few find them saved to my laptop playlist. With Randy's voice and the command of his guitar, I find his music thought-provoking yet relaxing.
Here's a preview of the album:
You can pre-order your copy through his website. You'll receive a hard copy PLUS a digital download. Check out the post on his Homepage just below the cover picture for all the details!
I know I’m coming
in way late on this review. Bob changed things up around here for me earlier in
the week, stayed home an extra day and we were on the go right up to the minute
he left town.
Thank you for
your patience.
By now you know
my reviews are less about the instrumentation, the technicalities of an album and
more about the soul. While all the albums I share encompass all those things, I
think sometimes we lose the heart and soul of an album in all the ‘stuff’.TEMPTATION ROW is all about the heart.
TEMPTATION ROW
opens up with a sweet bluesy number. Runnin’ Awaydraws you in. I had
the feeling of being on a dark, deserted street late at night feeling as if I
needed to keep watching over my shoulder.
Dancing With Him
has that slow travel around the dancehall. The mandolin is prominent in this
romantic tune that just has you closing your eyes and swaying along as you
remember your own special moment. As you’re remembering that special someone,
are you thinking Shoulda Woulda Coulda?
Hot Rodtakes
on a young man’s journey, connecting with each of us on some level. Whether we’ve
lost someone close or known someone who has, we’ve all had that experience.
Empathy.
Do you hear that?
The train whistle in the distance is the Cresson Train. (Cresson TX)Depending
on where you are in the commuter line waiting to cross (wait time could be up
to 45 minutes!) that whistle may be farther away for some. The pickin’ rhythm mimics the clickety clack
on the tracks while the lyrics lament over the patience one must have.
When I hear the
opening strains of The Lady, I thought of a jewelry box I used to have
with the pirouetting ballerina. The lyrics, however, is a gentle reminder to
men everywhere to take care of ‘the lady’. Pay attention to every nuance and
treat her like the lady she is.
Temptation Row
has a dark, maleficent undertone and a story to match. Call it a warning or a
premonition. If ever the term ‘stay out of dark alleys’ fit, the lyrics here bring
it home.
The final track, Suzanne,
is an echo to Wayne’s past – the earlier days and influences of his career as
well as the opportunity to hear his English ancestry.
As a folk artist,
at first I hear a touch of Arlo Guthrie but as I listened I hear so much more. I hear a depth of soul seldom encountered in
today’s music. True artistry in the building of both lyrics and tone.
I’m tipping my
hat:
.7
You can connect with Wayne Willingham through any of the following links. But first, check out this video... a sample of TEMPTATION ROW.
I believe living in a 'free' country and having the ability to do what you love doesn't get much more American than that. Wayne Willingham is one of those people.
Let's Open the Chute!
Let’s step back to early days. Do
you recall what first inspired you to be an artist?Seeing Buddy Holly on TV,
or any other guitar-playing singer. I
grew up in Michigan and we’d get Canadian stations as well, so I saw and heard
a huge array of styles. I can’t recall a
time when it wasn’t an aspiration.
When did you make the move to
Texas?In 1984, my first wife and I took a corporate transfer from her job. Live music, like everything in Detroit, ebbed and flowed with the auto industry, and we were sick of snow and slush. Detroit was in an ebb, and I remember the exact words I said that prompted our decision, “We can be broke anywhere.” No regrets.
There were some big names on the
country charts in 1970, when you were first starting out. You list some of your
heroes on your website. What about those artists spoke to you?I think we’re
all products of the music that was popular in our high school days, and we
filter out the aspects that really reach into our hearts. For me, the lyrics are what put some over the
top; whether it’s Pull Simon or Gordon Lightfoot or Joni Mitchell, they all
could turn a phase that creates a picture in my mind. That said, the songs that last have music
that also captures my imagination.
You spent twenty-six years on the
music path then just walked away one day before coming back to the fold around
2015. What brought you back and what did you hope would be different?I was
with a friend and heard a guitar duet that she knew. She introduced us, and told them I used to
play. One offered his John Lennon model Gibson to me (nice!), and I
played it some. I hadn’t touched my
guitars in years, but a few things came back to me, so I didn’t completely
embarrass myself.
When I handed it back, he said,
“Alright, who are you? Nobody just picks up a guitar and just plays like that.’
I gave him my short story. That got me
thinking, if he heard it, maybe I can still play. I had more free time than the last couple
decades, and thought, “Let’s see how much I can get back.” I got out one of my
guitars and started dedicating a couple hours a day to practice. Well, one thing led to another…
What did you doing during the
break and had you let go of the music entirely or was there still a hum, or
vibration below the surface waiting for a chance you’d hear? I really didn’t
miss music after I quit; I enjoyed listening to more variety and had mostly
fond memories. And man, was I busy with
other things. I’d gotten into
programming and data management, and was a partner in my own company. You can’t do music at a high level and then
just forget it, but I truly had no thoughts of playing at all, much less
performing. Then again, nobody claps
when you finish writing a computer program.
You released your first album in
2017. Had you done any albums prior to the break?No.
I’d recorded some of my own songs, and I used to do session work for
other artists and for advertising agencies.
In the early days, professional-quality recording was much more
expensive. Thanks to digital, it’s
gotten less pricey and easier to produce.
How do you think your music has
changed both from the 70s when you were first starting out to now and what
changes did you see for your music if you were going to give this another shot?Maturity is the main difference. That
leads to a little more discipline, and for me, a more scientific approach to
songwriting. All the early lessons are
still there, like “less is more” and “Play like you mean it”, and how to
perform to an audience and not just play the songs.
I wasn’t really giving it “another
shot”, and I’m not even now. While I
treat it like a business, I’m not doing it for the money – my business/tech
career set me up well enough. I’m
delighted to break even, and record and perform my own music and in my own way. One mantra of mine is “This time, it’s
personal.” And it is. That said, I’d love to expand my audience. I’m gratified to have some dedicated fans,
and I think I have something to offer.
With the exception of the pandemic
break, you’ve released a new album every year since you’re return. What is next
for Wayne Willingham? Wayne is going to settle into his new home with its
new music room, and write. I’ll be
inviting fellow songwriters over to collaborate – co-writing has never been an
emphasis for me, but I’m looking forward to it.
Gonna slow down on albums. I feel like I rushed the last two. The songs are some of my best, but I hear
things that I wish I’d arranged differently.
I turn 70 this year, so I’m not thinking past one more – yet. This may be my exit, and I want to do it
right. Maybe at least 6-8 reworks of previously released material, even some
live recordings, then at least as many brand-new songs.
How’s this for an album title?
Mulligans and Swan Songs
You have a loyal fan base. What do
you hope new people hearing your music will keep them coming back?I hope that people can resonate with the
feelings that are under the lyrics and music, that it touches something within
them. I hope they can laugh and cry for
the right reasons. The best compliment
is when somebody says, “Hey, listen to this – it made me think of you.”
Here's a tune off of his Stonehill Sessions album from Wayne's YouTube Channel -
You can find Wayne by clicking on any of the following links:
The 4th of July wouldn't be complete without songs from our favorite country artists. I thought I'd share a video my Toby Keith today and send best wishes and prayers for his complete recovery!
Today, I have a real treat. The new album, I CAN FACE THE TRUTH, by Dana Cooper is all kinds of traditional country comfort. Dana wrote eleven of the tracks, co wrote one with Robert Weingartz and covered one of my favorite Hank Williams tunes. Let's check these out!
My first impression is that while an undercurrent of traditional country flows throughout the album, the definitive folk style shines through like sun sparkling off the water; just takes your breath away.
Overall, I Can Face the Truth is a documentation of sorts of the experiences and life lessons on his musical journey. Always Old Friends speaks of the connections we have, whether they be with people, places or experiences along the way. They become a part of us - like old friends.
I Can Face the Truth is one of two tracks on this album that I feel would be a perfect fit for the Walker, Texas Ranger reboot starring Jared Padalecki. Along with Laughing and Crying, the two songs mimick the the Walker's recovery from loss that his character has faced from the very beginning, while trying to move forward . Everywhere he turns, Walker can't seem to catch a break, always haunted by his past.
Not far behind those two would be track number six. I'm So Lonesome I Could Cry is the epitome of what it means to take a song and make it your own. While there's still a hint of the anquish Hank Williams poured into one of his most memorable hits, Dana Cooper has opened up the wound, letting us feel the misery some of us may have felt during the pandemic.
While the album is somewhat of a documentation, there's a larger aspect to this album. I CAN FACE THE TRUTH is a shining example of the possibilities within the industry, today. With the virtual opportunities to work togther, the possibilities for creating something magical are endless. Dana shares his thoughts on this...
"In all my years of recording, I've never felt more free or creative in the studio."
I think a lot of that has to do with the opportunites to work virtually, brought on by the pandemic. While a good portion of this album was put together prior to that event, the aftermath brought in new additions from different parts of Colorado as well as Ireland.
I CAN FACE THE TRUTH is the result of what can be created when you believe in something, and yourself, enough to push through any roadblocks. When you do that, magic is always the result!
Here's another track from the album:
I'm tipping my hat ....
You will find more of Dana Cooper by clicking on any of the following links:
Today I have the pleasure of introducing you to Dana Cooper. An artist with a fabulous blend of old school Americana and Folk. I'll drop one of his videos down below to tease you until I get the album review up tomorrow.
In the mean time, let's open the chute!
Thanks for joining me in KellysCountry today, Dana...
You got a really early start in
this business. You were playing coffee houses in 1967 – a time when folk music
was still going strong. Who were some of your biggest influences leading up to
that time? So many people influenced me early on, Hank Williams, Buffy St.
Marie, Bob Dylan, Leonard Bernstein, Ray Charles.
I first heard your name in
connection with Shake Russel. You were a part of several bands in various
sub-genres of folk/ rock music including your pairing with Shake before moving
to Nashville to work on your solo career. What was in your heart to make the
switch from band mate to solo career?I made the decision to leave the band
with shake russell when I began listening to artists like Elvis Costello,
Laurie Anderson, and the Clash. The songs I started writing just didn’t fit
what we were doing with that band. DC3 was my chance to experiment with
different kinds of songwriting. After a few years I began moving back toward my
beginnings, only this time incorporating lots of the other influences I’d
gathered along the way.
You have a list of awards/
accolades some musicians can only aspire to. What do you feel was the key
ingredient in those career markings? Did each of those awards/ recognitions
build on the next one… ie what did you take from Miracle Mile as you moved into Harry
Truman Built A Road?Awards are gratifying but they’ve never been a driving
force for me. The recognition received is an indicator that one is doing good
work and it helps drive me to improve as an artist and writer. Miracle Mile was
released at a difficult time for me. I was without a booking agent and the
label wasn’t gaining much support for the project. Being nominated for the
Nashville Music Awards was a much needed validation. Harry Truman Built a Road
was in many ways another new beginning. Again, the accolades it received
boosted my morale and did a lot to put me back on the map as a solo singer
songwriter.
With that still in mind… was there
a bridge between those, including Incendiary
Kid in 2017 that moved you forward into I Can Face the Truth?I have always worked with incredibly talented
people on my recordings. Richard McLaurin and Mack Linebaugh were my
co-producers for Harry Truman Built a Road. Richard also co-produced Made of
Mud with me. Thomm Jutz came on board to co-produce Building a Human Being,
Road Show, and Incendiary Kid. Working with the best people has always been my
goal and all these folks helped me create greatest music projects. Meeting Dave
Coleman was yet another big turning point for me. The recording studio can be
an intimidating environment and I’ve never felt more comfortable and free in
the recording process than I was with Dave.
I loved the title track. I felt
the process of that track as shining example of the possibilities within the
industry today. The virtual possibilities of working together really lends to
creating something magical – even when we can’t work together in person. A lot
of artists would (and did) just put the production side of their music on hold.
What was the key to you and Dave Coleman pushing through the shutdown, which
most saw as an obstacle?Dave Coleman and I began with the song I had recently written,
I Can Face the Truth. We finished it in an afternoon and we knew immediately
that we wanted to continue working together. There was this natural musical
affiliation we felt. I was still writing songs for a new CD but hadn’t even
begun making a plan to record yet. So, we worked gradually as my touring
schedule allowed. When the pandemic hit we shut down like everyone else. During
that time I concentrated on writing and once some time had passed and we felt
somewhat comfortable we worked in the studio masked and in separate rooms. Some
of my co-writers shared their vocals long distance and once things opened up
Dave and I returned to work with other players and singers, again masked and at
a distance.
I love good Texas dramas/ sitcoms.
Especially, if they pull in some of my favorite Texas artists. I’m really
dialed in to Walker, Texas Ranger and think a couple of your tracks would be
outstanding for the show music tracks. The title track as well as Laughing and Crying, parallel the
storyline perfectly. Have you thought about getting your music in front of
those folks? I would love to have my music placed in films and television
shows. That’s something my current manager is working toward.
You wrote or co-wrote every piece
on this album with the exception of one cover. What was your thought behind
including I’m So Lonesome I Could Cry?My dad, George, was a big influence on me musically. His record collection was
eclectic with an emphasis on Country artists like Hank Williams and Ernest
Tubb. Dad took me to bars with him when I was 2 years old. He’d play the
jukebox and I would sing along with Hank and Ernest. Dad took me to see Ernest
Tubb in concert when I was three. I’m so Lonesome I Could Cry has always
reminded me of my father and I included it on the new CD in his honor.
What do you hope your listeners
will take away from this (or any of your previous) albums?My goal has always
been to lift people up out of their struggles, make them laugh and maybe bring
a tear to their eye. That’s what music gives me, a sense that someone else
feels the way I do, that I’m not alone in this world.
You will find out more about Dana Cooper by clicking on the following links:
