#12 Pam Tillis

Deep Down/Tequila Mockingbird- Pam Tillis

“Deep Down”- I have hit on a pile of country records. All of them using the Arista label and while country is not my favorite, it is just a song or two, so bare with me. The viola and handclaps in the chorus come out with an endearing display. Pam’s warbling vocals do not overcome or detract from this catchy tune. The pause before the title’s refrain is boring, but it picks up each time with the next phrase. The second half of the song takes off even though it uses typical writings, “We had some bad times, we had good times, too”. Why does she lamely quote Dickens? Why not take the time to be direct and use epoch- as our mutual feelings were the epoch of belief. Yeah, dare your audience to think, Pam. Incredulous.

“Tequila Mockingbird”- is a stupid pun of a great novel, it is also the name of a local outdoor band. This song is nice. Its images fit well into a bar scene, and the quick chord changes break up any monotony. The flow of this bypasses the silly title. Moreover, I enjoyed this song with no abysmal thoughts or suffering. It’s a fine pop song.

#11 Diamond Rio

Night Is Fallin’ in my Heart/Down by the Riverside- Diamond Rio

“Night IFIMH”- The mandolin comes through directly on first listen. There is a bluegrass feel that accompaniments and the strained vocals are no match for the instruments. The only time I really heard the lyrics happen was when the music halted so they tried to hold a solo; Without luck. Great music with forgettable lyrics, this song rolls to a traditional fade out.

“Down by the Riverside”- The piano is the highlight of this song. The vocals are too slow and overdrawn. They never excite or emphasize the notion that this song could achieve. The implied love and mischief portrays through the instruments with ease. “Now faithless love makes that willow cry…”- That line should hold its own. Instead it is muttered and left to drip into the torrent of notes and harmonies that simply evaporate into nothing. Please let someone with vocal strength and attitude sing this song to its prospective. Please.

#10 Michelle Wright

The Change/If I’m Ever Over You- Michelle Wright

“The Change”- I just cannot get into this song. There is some emotion in the voice, and some of the music breaks out from typical structure, but it is so bland. It has a very polished studio sound, and if you went to hear this live, you would be disappointed. Plus when you have the lines, “The words are unspoken, it’s all understood” they just belittle the point you have in singing the song at all.

“If I’m Ever Over You”- Country music is the exemplary of lament. These poor souls have tumultuous amounts of emotion in just breaking up with someone. Her heartbreak is on par with hell. I know children will wish for futile things from God, but grown women should not. Forget peace and harmony, “Lord won't you give me one day, One day without wanting him here”. Come on, woman!

#9 Aaron Tippin

I Wonder How Far It Is Over You/ You Should See Me Missing You- Aaron Tippin

“I Wonder HFItIOY”- Aaron really loved the woman he is running away from. He drove his car from Tennessee until it broke down in Texas, where he proceeded to walk until he reached New Mexico, straight through to California, and hitting the ocean. That is a haul. Now I wonder; is he going for realism in this song? I mean, instead of impossible locations as the moon or the end of the universe, he chose the ocean. I digress, but this does sound like the actual drivable/travelable route that he did take, via Greyhound, though weeping the entire crossing. At least he did not choose the standard drink to forget her way, no. That is not the model way. Alternatively, the murder-spree option might be doable. As for the music, a pretty fiddle cannot compete with his voice. I believe that Aaron is the Emo of country music. This sad-sack song just cries out wrist-slashing and sad face photography.

“You SSMMY”- I am certain these lyrics are earnest. It's just that, they mirror 10^th grade poetry. Did Aaron really believe the threat or idea of his ex witnessing him wandering around in his pajamas, moping over a photo album of the two, going through old letters, and forget-me-nots? Did he hope that would bring her back? Is this the woman of his dreams? One that swoons over the idea that he falls apart and believes the phrase, “That’ll show her”? Come on, man!

#8 Jesus Jones

The Devil You Know/Zeros and Ones- Jesus Jones

“The Devil You Know”- I know this song (Devil). I have the album it came from. Finally, out of 14, one I own. It is a great song. Bouncing around the speakers, some looped samples fading in and out, with that long introduction- this is a fine example of dance era, pre-techno. It would do well in a modern movie soundtrack.

“Zeros and Ones”- So I looked up this album. Interesting, it is the first recorded on a computer. I hope they have kept all the tracks updated. This song is not as interesting as its flipside. It should have lasted all of a minute or minute and-a-half. Still, it is fun to own on vinyl. When I have time, I will use this on a mix or a sample.
The Devil You Know
Zeros and Ones

#7 Bandit Brothers

Women/Women (Instrumental)- Bandit Brothers

“Women”- Oh, boy. What can I say about this song? The misogyny is apt with these silly lyrics. I am sure they are goofy enough to get away with the cliché and trite remarks, sure, but wow. I knew nothing of this band and had to look them up. My preferred music site had nothing, so I Googled em’. I found this link from Deletionpedia. Now the song makes sense. It is in jest.

“Women (Instrumental)”- This version is longer. I have nothing to add about the song here. I like the label’s sleeve though. Interesting layout and according to the link, Curb Records still exist.

#6 Great White

Big Goodbye/Livin’ on Rock n’ Roll- Great White

“Big Goodbye”- Yeah, baby! ”Hey, hey baby, no more lies, this is the big goodbye”. This song is a little long, with a drum and bass delay resting towards the end, but finishing up with a thousand note guitar solo, though, it rocks out well. If I attended a concert, I would pump my fist and sing together with all the torn and frayed jeans.

“Livin’ on Rock n’ Roll"- It starts off with that warm up guitar crunch. You know the one- instead of the drummer counting off the beat (ah one, two- one, two, three), the guitar sets it for the band. Then it is a trade between the drum and guitar introducing each phrase of the chorus. Quick and to the point, the song says a succinct amount with nothing extra. After looking up this song, I found it's not on the album, but only on the single. The first rarity of this collection is from Great White. Good for them and I hope that they still live on rock n’ roll.

#5 Cleve Francis

Love Light/Happy- Cleve Francis

“Love Light”- Very pretty song. A slight guitar twangs throughout and accents the down stroke of the rhythm guitar. The female voice accompaniment compliments his smooth coo’s and they ride well together. The final minute is this grand cadence of trumpets and banjo riding in an epic and moving piece. This is a great country song. In addition, Cleve Francis plays his own pick guitar and does not look, as you would expect.

“Happy”- Similar to the flipside, all three guitars are in this song: a slide, a twang and a rhythm. These two songs are a very welcome addition to my collection. After looking up Cleve, I find that Love Light is a re-recorded version. The original had two additional seconds. I am guying to place my ear out there to find it. This is a great single!

#4 Pirates of the Mississippi

Honky Tonk Blues/Anything Goes- Pirates of the Mississippi

“Honky Tonk Blues”- We come to the first country music entry thus. This single came labeled on CEMA Special Markets with the words “For Jukeboxes Only!” Ha. I wondered what happened to those things. They end up in random collections. My first thought, Whoa. The speed of this Hank Williams, Sr. cover is goofy. It sounds like a warm-up. These lyrics do not need such pretty backups. The original laments God and these fellows turn it passé gracefully. Way to remove all emotion and objectivity while missing the heart and striking the wallet. This is what will play in the elevator on the decent to hell.

“Anything Goes”- Very well… This song is slow. The guitar solo collapses on itself. The lyrics state the obvious, like, “Nobody knows all the answers, everybody walks a different road”. I was curious, so I looked up this band. They are very popular and this album has great ratings. Country music is not finicky- It allows the 90’s recordings to sound like every era post and prior.

#3 Trey Lorenz

Photograph of Mary (LP version)/Photograph of Mary (Characters Radio Remix)- Trey Lorenz

"PoM (LP version)"- We hit the 90’s and the first artist I have yet to know. I am familiar with one of the producers: Mariah Carey. She and Walter Afanasieff made this song for Trey, and probably with Walter performing all of the instruments as he did on Mariah’s work. The song begins with the typical 90’s made beat. It picks up quickly with the vocals. Rhythm chants follow musical calls and his voice riding just on top finishing up this tale; the one he reminisces about Mary and how he wants her back in his life even though he keeps all the many memories in his head. He laments that he has the right to know just what went wrong. And as is obvious... just right there, he became too desperate and unless you can pine as Sting does about such desperation (Every Breath You Take), the relationship is going to end quick, fast, in a hurry.

"PoM (Characters Radio Remix)"- This is the bare bones version and I find “radio” in the title confusing. I'd hope it was a jab or dare to radio stations in hopes for play of the song without listening first. Bizarre promotion. I’d bet that Gregg Gillis could incorporate this version into something unique. If I met current day Trey, I would ask him his explanation to any future girl he dated as to why he still kept a photo of Mary near him?

#2 Greg Kihn Band

Jeopardy/Fascination- Greg Kinh Band

"Jeopardy"- Continuing with the 1980’s, we get a picture sleeve out of these 400 singles. This is on Beserkley Records, home of The Modern Lovers. I did not know the label had artists like Kihn on it, but they do. I never thought much of this song and it stays muddled with Weird Al’s parody in my mind. I do like the ending and have a feeling it is dynamite at live shows. Probably extended and looped in a chaotic crescendo, with the members hopping around like hell, rambling all away from the original tune.

"Fascination"- A goofy call and response chorus outlines this simple song. It has a pause in the middle, while kitsch, that sounds clever here. He screams the chorus towards the end, and I lament that this song may have rocked more outside the studio. If I had my hair feathered and my collar popped, I would put this on a mixtape anonymously and send it to my sweetheart.

#1 Billy Joel

Billy Joel- Allentown/Elvis Presley Blvd.

Allentown- I knew this song right away. This was a freebie given to me, by the company this set was purchased. This was a staple video on MTV and did not leave much of an impression on me. I do notice the false beginning on this song now, and that is admirable; as is the pre-steampunk influence. I could also venture the machine-based sound effects that become the beat are an obvious notion that Mr. Joel was borrowing from Kraftwerk. If I had some C₂H₅OH, this song would reign.

Elvis Presley Blvd.- Ummm… I hate to admit, but I like this song. The slight guitar solo’s, they made my head bob. The abrupt ending is kinda’ unique too. I am torn; I should not like this song. The coos in the chorus do not make my ears wish for tinnitus. Billy, thanks for the decent song.

Allentown
Elvis Presley Blvd.