For those interested in a somewhat broad intro to Charlie Rich without ponying
up for a Bear Family box, check out the 2 CD "Feel Like Going Home : The
Essential Charlie Rich" on Columbia. It's an unbeliveable career-spanning
retrospective, highlighting all the great periods of Rich's work. By the time
you listen straight through, you know you've been in the hands of a master.
John Magee
-----Original Message-----
From: Lance T. Peterson <[EMAIL PROTECTED]>
To: passenger side <[EMAIL PROTECTED]>
Date: Wednesday, February 03, 1999 8:42 PM
Subject: Charlie Rich/Holler
>
>Terry Smith wrote:
>
>"If I remember correctly, when Mike Ireland and Holler came out with their
>debut last year, Ireland repeatedly mentioned Charlie Rich's work from the
>mid-60s as a major influence, specifically noting the sophisticated
>arrangements, with strings, horns, etc."
>
>Hmmm. It takes a Sub Pop band to lead the alt.country scene to Charlie...
>:) When Charlie saw that John Denver won country music entertainer of the
>year, Charlie (who was presenting the award) proceeded to burn the damn
>envelope, live on national tv.... :) Is that insurgent enough for all
>y'all?
>
>The Charlie Rich material Ireland is thinking of here might be the
>work done with Billy Sherrill after the Smash stuff and before Charlie
>finally made money with Sherrill as the Silver Fox. These have been
>released on Koch: "Set Me Free," "The Fabulous Charlie Rich" and "Boss
>Man".
>
>These recordings are more targeted for a country audience than the
>wonderful RnB Smash stuff Terry mentions. In these Sherrill records there
>is an eclectic but difficult mix of soul, jazz, country and rnb.
>Wonderful songs like one written by Charlie's wife Margaret Anne like
>"Life Has Its Little Ups and Downs" which may be my favorite song of all
>time. And then some weak stuff like Sonny Throckmorton's "H20."
>
>Only thing about Ireland's reference is many of the arrangements on the
>record can be annoying as shit. The way these otherwise brilliant
>recordings are hurt by that overproduced countrypolitan sound is a good
>argument for why no one should be admiring those production values. (Of
>course half of the time it kind of does work... when you feel Charlie is
>calling the shots...).
>
>The Smash stuff is more immediate and live in its feel, even when horns
>
>and strings are being used.
>
>Silence, Chalie's voice and piano in the right combination are all one
>needs, and are dynamite. That is why it is hard to understood the
>heavy handedness of his producers throughout his career.
>
>Check out the Bear Family Charlie box of earlier Sun stuff "Lonely
>Weekends..." The demos on that record are remakable. He sounds like Chet
>Baker one track and Wynonie Harris on the next. Charlie is up there
>with Merle, Hank, Elvis, Jimmy Rodgers, Lefty as one of America's most
>fascinating artists. Sam Phillips has stated numerous times that he was
>the most talented individual he ever worked with.
>
>Lance
>
>
>
