I don’t do a whole lot of lists, but I’m not immune to them. If I ever got really full of myself (or something stronger) and did one that was titled something like “The Ten Most Beautiful Records Ever Made,” Jeannie Kendall, who most of the world has never hear of, and is remembered by most of those who have for “Heaven’s Just a Sin Away” and nothing else, would probably be singing on about seven of them.
One of those would be her recorded version of “Making Believe,” which would also top any list entitled “The Greatest Versions of ‘Making Believe.'”
And “Making Believe” is one of the few songs that actually has enough great versions to warrant a list. It’s one of those songs nearly every country giant (and not a few from other fields) has not only taken a crack at but done justice by. The great country women, either soloing or duetting (as Jeannie did with her father) have been especially drawn to it: Kitty Wells, Dolly Parton, Wanda Jackson, Anita Carter, Emmylou Harris, Loretta and Conway, Patty and Vince. That’s in addition to Merle Haggard, Connie Francis, Willie Nelson, Johnny Cash and Ray Charles.
You know, like that.
Just at the high end. Just for starters.
But on record, nobody made it cut like the Kendalls.
My improbable discovery of the past week was that they made it cut even deeper on Austin City Limits, way back when:
And my other not-so-improbable discovery of the week is that it still doesn’t cut as deep as “Just Like Real People” or “Put it Off Until Tomorrow” or “I’m Coming Down Lonely,” which is so obscure that it’s not even on YouTube.
So my final not-so-improbable discovery of the week is that we’re not living in a perfect world just yet.
Patty Loveless has not released a CD since 2009. I occasionally wander around YouTube seeking any new posts of her live recordings (whether recent or from back in the day) and seeing these two very recent killers back to back made me think it was just barely possible that something is in the works.
If I’m not just indulging wish fulfillment (and, believe me, nobody ever made any money trying to guess what Patty Loveless will do) and her comeback happens to include that duet album with Vince Gill that country fans have dreamed about for nearly thirty years, then there might be a new and previously unforeseen problem. Namely, how is she going to keep herself from blowing him away?
Another possible (and even more exciting) path would be to take up Miranda Lambert’s longstanding offer to write an album for her. Patty’s made a habit of guesting at Miranda’s concerts for years, pretty much ever since she quit touring herself, and the one song they always do is “Dear Diamond.” Lambert wrote it specifically for Loveless to sing with her as a duet and it appeared on 2011’s Four the Record. Oddly, Loveless’ vocal was mixed way down on the recorded version and, even more oddly, the side was never promoted for radio play. All of which makes me wonder how much say even Miranda Lambert–already a superstar at the time and now a record breaking five-time CMA Female Vocalist of the Year–has over how her own records sound and which ones get promoted.
Anyway, she gets some sort of revenge by singing it with Loveless on stage as often as possible. They’ve apparently been doing it a whole lot lately, as something like the scenario “Dear Diamond” was perhaps designed to stave off (on the “if you name it maybe you won’t have to claim it” theory) has taken over Lambert’s life and the supermarket tabloids.
And there’s a new level of emotion between the two, as evident in this particular video, which is a long way from looking or sounding like it should, but is the best amateur vid (of what seems to be an endless supply) that anyone has done yet….
All of which led me to PattyLoveless.net, the great fan-site that tracks Patty’s every move, where I found a notice from December that Patty and her producer/husband Emory Gordy have been spotted here and there in the company of Tony Brown, who produced Loveless’ first records.
I’m hoping. That’s all.
And hey, if she doesn’t want to do any of that, the world could always use a little more of this.
Of the select group of singers who have been known to keep me up all night (you know, get me thinking I’ll just listen to an album or two round about midnight and still be on the player when the sun comes up, which is, believe me, the only way I ever get to see the dawn), only two have kept me up trying to figure them out.
That’s a very different quality than loving someone’s voice, though of course that has to be the foundation. I’m not gonna spend all night with somebody I merely like a lot. All three of my friends can tell you….I’m just not that kind of guy!
Anyway, one of those singers is surprise, surprise, Elvis Presley and over the years I’ve at least come to some sort of conclusions about his place in the Cosmos, some of which I’ve shared on this blog.
Somewhere along the way, I flat gave up on Tanya Tucker.
I even stopped listening to her all night (though admittedly this has something to do with how little of her best music is available on CD and the mysterious curse on my string of den-ready record players). I never forgot mind you. Never forgot how good she is, or how strange she is. And, before I stopped listening all night, I had long since dismissed any notion that she was merely eccentric, after the manner of Prince or Dr. John or Frank Zappa, not only because that style of studied accentuation of a persona never much appealed to me but because it just didn’t suit her at all.
She was great enough to be as great as anybody and strange enough to take all kinds of purely musical risks, not a few of which left her flat on whatever a singer falls on when they slip on the proverbial existential banana peel.
Also great enough and strange enough to find that little space the ordinary genius doesn’t find.
In other words, a lot like Elvis (who, yet again being uncannily-astute-even-if-he-was-just-being-polite-too, once called her the female version of himself).
On record this quality might have showed itself as subtly as the way she dug in at the very end of an otherwise note-for-note copy of Linda Ronstadt’s by then standard arrangement of “When Will I Be Loved” and not only cut away the difference between her very good voice and Ronstadt’s spectacular one but actually upped the ante.
Or it might have showed itself as completely devoid of subtlety as the in-your-face way she called up the harsh, pitiless desperation in John Prine’s “Angel From Montgomery,” which a singer as fine as Bonnie Raitt had essentially treated as a folk song about an old person we ought to all feel sorry for and which even Prine had sung from the outside looking in.
It might have even come from as far out as the absolutely natural way she leaned on the key lines in this…
…which would have been a joke–or a folk song about a young person we ought to feel sorry for–coming from anybody else who ever lived. Coming from her (a superstar prodigy who hadn’t lived in “the real world” from the age of thirteen and hadn’t exactly lived a normal existence for a long time before that) it cut straight under the scar tissue covering the soul of every wild child you ever tried to look down on because you could take one look and know she was going to wind up in a Tanya Tucker song some day.
I don’t know. Seemed like worth staying up all night for to me, trying to get to the bottom of all that.
But, as I say, at some point I let it go.
I still listen, of course, but I never got a handle on her.
And I never will.
Last night I was running around YouTube, trying to piece together some sort of theme relating to why all my favorite living country singers are women just a few years older than me: Jeannie Kendall (b. 1954), Pam Tillis (b. 1957), Patty Loveless (b. 1957). And, of course, I was going to put Tanya (b. 1958) in there somewhere.
Then I ran across something that stopped me cold because it was the old, weird Tanya again, smoking up an Orlando club some-time in the eighties. I’d seen some of the footage from the concert before (there’s a version of “San Antonio Stroll” from the same concert which I’ve always been fond of that beats Miley Cyrus’ latest career moves by thirty years and every other kind of way).
I might have even seen this before.
But I never really heard it.
Maybe I had the not-quite-there version from her 1982 live album, (so familiar from those long ago all night sessions, which were by no means limited to what I liked because with Tanya half the time I didn’t even know what I liked), too firmly lodged in my ear.
Maybe YouTube isn’t the best venue for critical reassessment. Maybe the fact that she used Joan Baez’s folk-song lyrics instead of the Band’s hard-scrabble history lessons (“so much cavalry” for “Stoneman’s cavalry,” “I took the train” for “By May the tenth” and so forth) was calling up the rock snob in me.
Maybe no man could be expected to pay strict attention to the way any woman is singing when she’s getting away with an outfit that wouldn’t sell ice-to-an-Eskimo on anybody else the way it does on her.
For whatever reason, I probably listened before, but I definitely didn’t hear.
I heard it this time.
I very especially heard the way she finally put the rebel yell back in the song.
I heard what Levon Helm deliberately suppressed (he wasn’t in a position to let any Yankees think he was talking about them…not in 1969 with a review in Rolling Stone pending that might make the difference in whether he died rich as a rock star or poor as Virgil Caine) and what Joan Baez (a fair candidate for the Yankeeest Yankee in Yankeedom) couldn’t have conjured even if she had somehow imagined its existence.
In other words, the girl who had sung the New South anthem, “I Believe the South Is Gonna Rise Again” (oh, but not the way we thought it would back then) and the neo-Confederate anthem “I Still Sing the Old Songs” (where the south that the singer wants to see rise again is precisely the one “we” thought about back then) with equal spine-tingling conviction, had come to a place where a setting that was half Vegas-warm-up and half barn-dance-stomp seemed like as good a chance as any to assume the position that Dixie never got drove down at all and to hell with you if you think it did.
Believe me when I say that it’s a rare white Southerner, however enlightened, who doesn’t get this, just as it’s a much rarer white Southerner than you might think who isn’t secretly glad the Yankees won.
And lest you think it’s even that simple, bear in mind that, if you flip around YouTube a little longer, you’re likely to run across this next video, which I confess I had all but forgotten about and which sprang from the Rhythm, Country and Blues project in the nineties.
That was one of Nashville’s periodic attempts to pretend the hard, segregated line its generations of suits (with admittedly some collaboration from artists and audience, though that’s complicated, too) started taking almost ninety years ago doesn’t really exist.
Little Richard, one of the artists the particular line drawn in the late fifties had been especially designed to exclude (a line so rigid it left Elvis and Brenda Lee and the Everly Brothers on the far side of it, kicked to the curb so to speak, even though they were Southern whites recording in Nashville with the same producers and musicians everybody else used and were, basically, the biggest pop stars in the world), was finally to be invited inside the tent.
And if you didn’t want that to be fake, or awkward, or embarrassing in either the musical or political sense, there was exactly one Nashville hit-maker you could call.
Gee, who do you think that was?
The female Elvis maybe?
More especially if you hoped to sell ice-to-Eskimos live on television with a thoroughly bemused let’s-all-try-to-get-through-this-now Vince Gill introduction…