Kenny Dale "Bluest Heartache Of The Year" (Capitol Records, 1977) (LP)
(Produced by A.V. Mittelstedt)
This is the first album by New Mexico-born countrypolitan crooner Kenny Dale, who I think by this time had moved to Texas... The record kicks off with a surprisingly robust, bouncy country tune, with enough fiddle and pedal steel to make my ears perk up... But then he lapses into much softer, pop vocals-oriented performances, reminiscent of Mac Davis and/or Andy Williams. A mix of covers ("Crazy," "Misty," "Release Me," Mickey Newbury's "An American Trilogy...") and some mostly unmemorable originals, including a couple credited to producer A.V. Mittelstedt and two by W. W. Wimberly -- the track that kicked the album off, Wimberly's "Shame Shame On Me," is the best thing on here. But even if you like countrypolitan pop, I can't say I'd really recommend this album.

Kenny Dale "Red Hot Memory" (Capitol Records, 1978) (LP)
(Produced by A.V. Mittelstedt)
As on his first album, Kenny Dale seems to be taking a try-anything, see-what-sticks approach to this album, rapidly shifting from the relatively robust opening song, an old-fashioned Texas shuffle called "Red Hot Memory," into gooier, less effective countrypolitan material. His limitations as a vocalist become more apparent, as well -- indeed, he seems to slide off-key on more tunes than you might imagine. In some ways, this disc reflects the identity crisis of late-'70s Top Forty country, though in retrospect, Dale's rural-yet-bland vocals also anticipate a much, much country sound, the poppy style of the late 1990s and early '00s -- this is a guy who would have flourished in the era of auto-tuning and country-soul ballads. As before, the Houston-scene musicians backing him (producer A.V. Mittelstedt's crew) bring a mildly unique feel to some of this material, with stalwarts Randy Cornor and Donna Hazard in the studio once again. Worth a spin... not dazzling, but there is some grit underneath all the glitter.

Kenny Dale "Only Love Can Break A Heart" (Capitol Records, 1979) (LP)

Kenny Dale "When It's Just You and Me" (Capitol Records, 1981) (LP)

Maria Dallas -- see artist profile

Lacy J. Dalton -- see artist profile

Dick Damron "More Than Countryfied: Early Recordings, 1959-1976" (Bear Family Records, 2011)
A 3-CD set exploring the work of Canadian country star Dick Damron, from his rockabilly roots to his country years, working in Nashville. Expect the usual high-class Bear Family archival treatment: copious liner notes and great sound quality.

Dale Daniel "Luck Of Our Own" (BNA Records, 1994)
(Produced by Jerry Crutchfield)
The lone solo album from this modest Nashville songbird... It's fairly generic early-'90s Nashville fare, with an okay bouncy, uptempo opening track, "In The Middle Of A Miracle," and then a bunch of less vigorous stuff, much of which has tinkly, thin-sounding production that sounds like leftovers from the 'Eighties. She's an okay singer, I guess, but doesn't make much of an impression. Strangely enough, the Nashville establishment seems to have agreed: not a single track on here got the least bit of traction in the Billboard charts... That's harsh! I mean, she kinda sounds like everybody else, so she must have had some major strikes against her to get so little love from the hitmakers... Wonder what the deal was... (?)

Davis Daniel "Fighting Fire With Fire" (Mercury Records, 1991)

Davis Daniel "Davis Daniel" (Polygram Records, 1994)

Davis Daniel "I Know A Place" (A&M Records, 1996)
(Produced by Ed Seay & Harold Shedd)

Davis Daniel "It's About Time" (Klever Records, 1994)

Davis Daniel "Is It Just Me?" (Klever Records, 2010)

Charlie Daniels Band -- see artist profile

Helen Darling "Helen Darling" (Decca Records, 1995)
(Produced by Michael Omartian & Mark Wright)
In the early '90s, Darling worked as a backup singer for Garth Brooks, and he sings on a couple of songs on this album. She co-wrote a couple of these songs on here, including "I Haven't Found It Yet," which was one of the singles. The album tanked, though: the highest charting single was the girl-powerish feminist anthem, "Jenny Come Back," about a girl who plays dumb and goes out with jocks when she "could have been anything," and winds up unhappy as an adult. It only hit #69 on the charts and afterwards Darling turned her efforts towards songwriting. Her most notable success was "Bring On the Rain," which was a Number One hit for Jo Dee Messina and Tim McGraw in 2002. This was her only album, though it has its charms.

Johnny Darrell -- see artist profile

Dave & Sugar -- see artist profile

Clay Davidson "Unconditional" (Virgin Records, 2000)
(Produced by Scott Hendricks & Jude Cole)
Super-generic rock-flavored country, wearing the tough-but-sensitive country stud act out to the hilt, with plenty of rehashed Southern rockisms, contrasted by swooping string sections on the slower tunes. Very much a Toby Keith wannabee ( ...and what a scary thought that is!) You can pass on this one.

Gail Davies -- see artist profile

Jimmie Davis -- see artist discography

Joey Davis "Love Songs, Waltzes, True Stories, And Lies" (MRC Records, 1978) (LP)

Linda Davis - see artist discography

Mac Davis - see artist discography

Skeeter Davis - see artist discography

Stephanie Davis - see artist discography

Jennifer Day "The Fun Of Your Love" (BNA Records, 1999)
(Produced by Robert Byrne)
Poppy, perky, bland, forgettable late '90s stuff. More pop than country, if you ask me, but a lot of stuff was back then. Includes a couple of songs co-written with Carolyn Dawn Johnson, and a lot of light, bouncy guitar sounds. Fans of SheDaisy, perhaps, might like this.

Billy Dean -- see artist profile

Jimmy Dean -- see artist profile

Duane Dee "My Shining Hour" (Capitol Records, 1968) (LP)
This Wisconsinite had modest success with his 1968 recording of "Before The Next Teardrop Falls" (the first version to chart, which almost cracked the Top 40...) Later, after being dropped by Capitol, he did have a Top Forty hit, but the thrill was short-lived, and not to be repeated... Thus, this disc remains his only full-length mainstream album.

Jackson Delaney "Jackson Delaney" (EP) (Junebug Records, 2012)
(Produced by Gary Hannan)
I think there's a good chance you'll be hearing more from this guy... This is independently-produced, Top-40 style tough-guy country of the Trace Adkins/Montgomery Gentry variety. The production is a little over-obvious: big electric guitar riffs, crossing Southern rock with shimmering reverb, straight out of the Toby Keith playbook, and the songs are kind of what you'd expect: rough and tumble rowdy barroom ballads, one about his old small-town girlfriend who he married after sowing their oats in a wild truck driving youth; a chest-thumper honoring American soldiers... All standard-issue modern Nashville stuff. But Delaney's got a good voice and a charismatic presence -- more of his personality comes out on the rootsier-sounding "You Make Me Wanna," which has kind of a Merle Haggard vibe. The anti-drug novelty song "The Good Drugs" is a hoot: he was drug to church and drug out to the shed when it was time for a strapping... That song makes this one a keeper!! Good luck in Nashville, Jackson... I'm looking forward to hearing more from you soon.

Wesley Dennis "Wesley Dennis" (Mercury Nashville, 1995)
(Produced by Keith Stegall)
This Alabamian neo-tradder had a trio of singles that grazed the middle of the Hot 100, but that wasn't enough to earn him a shot at a second album. Nashville is a hard, tough town. Includes the non-single novelty song, "This Hat Ain't No Act."

John Denver -- see artist profile

Desert Rose Band -- see artist profile

Diamond Rio - see artist discography

Little Jimmy Dickens - see artist discography

Joe Diffie - see artist discography

Craig Dillingham "Almost Yesterday" (Emergent Records, 2004)
A great "comeback" album from a Texas fella who recorded several singles in the early 1980s on the Curb label, but wasn't even given the chance to release an album before they dropped him. Why? Well, judging from this pedal-steel and western swing-laced gem, I'd say the reason was he was just too darn country. Nice crooning, soulful drawl, with plenty of smooth, sweet twang. Trust me: this one's worth checking out!

Dean Dillon & Gary Stewart "Brotherly Love" (RCA Records, 1982)

Dean Dillon & Gary Stewart "Those Were The Days" (RCA Records, 1983)

Dean Dillon "Slick Nickel" (Capitol Records, 1988)

Dean Dillon "I've Learned To Live" (Capitol Records, 1989)

Dean Dillon "Out Of Your Ever Lovin' Mind" (Atlantic Records, 1991)

Dean Dillon "Hot, Country and Single" (Atlantic Records, 1993)

Dixiana "Dixiana" (Sony-Epic Records, 1992)
Another moderately-successful none-hit wonder, one-album band... Lead singer Cindy Murphy had a slightly rugged voice, but it's at odds with the glossy, belatedly '80s-ed-out production; hard to tell whether she bugs me because she's singing in the wrong style, or whether she just bugs me. At any rate, this is one of those bands that never manages to balance honkytonk with country-pop (they try, but their "hard" country sound is still too glossy) and I wasn't able to find anything here that appealed to me. Still, if you are a fan of, say, the Judds, or Juice Newton, you might like this as well.

Dixie Chicks - see artist discography

Deryl Dodd "One Ride In Vegas" (Columbia Records, 1996)

Deryl Dodd "Deryl Dodd" (Columbia Records, 1998)
(Produced by Chip Young & Blake Chancey)
Damn... this is a mighty fine, mighty fun little record! It's really a shame that such a fine record as this only barely scratched the Nashville Top 40... what is wrong with those people? Anyway, this is well worth looking for, packed with fun, rootsy numbers that have a strong melodic fell, but plenty of forward, propulsive momentum, smartalecky lyrics and heartfelt delivery. Plus, he just doesn't bather messing around with crappy, sappy power ballads, so there's nothing on here to harsh the high of the true country fan. Take for example, the track, "30-30," with this fab chorus: "Hindsight's not 20-20/It's more like a 30-30..." With lyrics like that... how can ya lose? It's a really good album... heck, I kept my copy, and I'm pretty damn picky.

Deryl Dodd "Pearl Snaps" (Lucky Dog Records, 2002)
I like this guy! Coasting on the edge of "young country" Top 40 and Joe Ely-style bar band rowdiness, Dodd has a pleasantly un-perfect voice which makes him human enough to be a little "alt"... The title track to the best-of set is pretty irresistible and catchy... it's followed up by two other great tunes, "She's Have You Back" and a nice rendition of Tom T. Hall's "That's How I Got To Memphis." From there it's a steady slide into commercial formulae, but on the whole this is a pretty decent collection. Plus, I have to confess I've always been partial to Gordon Lightfoot's "Sundown..." Dodd's version ain't as great as Lightfoot's, but that's a tough standard to live up to, and Dodd does alright. This is definitely on the pop side, but worth checking out.

Deryl Dodd "Live At Billy Bob's Texas" (Smith's Music Group, 2003)

Deryl Dodd "Stronger Proof" (Dualtone Records, 2004)
Hey, let's hear it for Deryl Dodd: he still rocks. Or, to be more accurate, he still plays some great, hard-edged melodic country music. A couple of songs on here go off the rails into some shrill Southern rock riffs that made me hit "fast forward," but the rest of the album had the kinda twang that makes me put an album on "repeat." This is good stuff... If you liked his earlier albums, this one won't disappoint you. It's worth checking out, kids!

Deryl Dodd "Full Circle" (Dualtone Records, 2007)

Deryl Dodd "Stronger Proof" (Dualtone Records, 2008)

Deryl Dodd "Random As I Am" (Smith Entertainment, 2011)

Johnny Dollar -- see artist profile

Dottsy "The Sweetest Thing" (RCA Records, 1976) (LP)
(Produced by Roy Dea)
A likeable minor leaguer who had a few respectable chart hits in the mid-'70s, Texas native Dottsy (nee Dorothy Brodt...) hitched a ride with Johnny Rodriguez's road show, and after a half year or so touring with him, landed a contract with RCA. She had an okay voice, nothing earthshaking, but sincere and heartfelt, perhaps a little on the demure side, as if she could easily be overwhelmed by a powerful enough arrangement. There wasn't too much risk of that, though: the band behind her was pretty much a standard-issue Nashville studio session crew, and they stuck to a mellow, low-key tempo. The song selection was interesting, though -- in addition to some bland offerings by John Denver and Billy Joel, she also covered a few folks from the nascent "outlaw" scene, including a ballad by Kinky Friedman (!), Jessi Colter's "Storms Never Last," and a slushy version of Susannah Clark's "I'll Be Your San Antone Rose" (which she apparently got first crack at, ahead of Emmylou Harris...) Nothing all that compelling, but a nice slice of '70s style country crooning, with backing by a bunch of Nashville "usual suspect" superpickers -- Harold Bradley, Bobby Emmons, Weldon Myrick, Jerry Shook, et. al.

Dottsy "Tryin' To Satisfy You" (RCA Records, 1979) (LP)

Dottsy "Meet Me in Texas" (Heart Of Texas Records, 2010)

Dusty Drake "Dusty Drake" (Warner Brothers, 2003)

Pete Drake -- see artist profile

Rusty Draper "Greatest Hits" (Collector's Choice Records, 1999)
The good-natured, modestly talented Rusty Draper had a couple of tunes in the Country charts (most notably "Gambler's Guitar," which hit #6) but mostly he was a pop singer, following in Pat Boone's footsteps. More often than not, he'd bring country tunes over into the Pop charts, like his goofy, rinky-dink cover of the Carlisle's "No Help Wanted." This set's pretty underwhelming, at least from a country lover's perspective, though anyone who was a fan way back when will be thrilled to see this disc with all these '50s oldies back in print... It's a nice summation of Draper's early years -- not gripping material, but cute in a Norman Rockwell-ish, Eisenhower-era '50s kinda way.

Rusty Draper "No Help Wanted" (Jasmine Records, 2009)
A 2-CD set that supersedes the Collector's Choice disc listed above...

Don Drumm "Bedroom Eyes" (Churchill Records, 1978) (LP)
(Produced by Bob Millsap)
A really nice set of independently-produced 'Seventies style honkytonk pop, from New England-born singer Don Drumm. He wasn't any great shakes as a vocalist, but this is a fine set of songs, with plainly-arranged, straightforward accompaniment. I enjoyed it quite a bit. Most of the songs were written by his pal, Ray Hillburn, who sings backup along with the Cates Sisters, who were making a go of it themselves on Ovation Records around the same time. Side One of the album is packed with Hillburn songs, including a couple that hit the Top 40 ("Bedroom Eyes" and "Just Another Rhinestone") while Side Two has a wimpier, poppier sound, finishing up with the only track written by Drumm, "You'd Be Beautiful (In A Children's Book)" which is actually a better song than the title implies. Highlights include "Brother, I'm Glad She Found Me" and "Sad Songs" (again, written by Ray Hillburn) and their cover of Chips Moman's outlaw anthem, "Luckenbach, Texas." This is swell record, a modest late-'70s gem that reminds me of Bill Phillip's "comeback" album of the same era. Worth looking for.

Roy Drusky -- see artist profile

George Ducas "George Ducas" (Liberty Records, 1994)
This disc didn't make a dent in the charts, but it sure sounds fine from where I stand... I'll admit Ducas doesn't have a great, perfectly professional voice -- he's got great tone, and a personal warmth that comes through loud and clear, but he falters in little ways that make this a flawed jewel on the major label alter. Still, I found this disc consistently interesting; they might not have "punched up" the weak spots to make it radio-perfect, but Ducas still has a feel for real country music that's quite refreshing to hear, giving us a pleasant mix of Rodney Crowell's traditionalism and Chris Isaak's croon. Plus, what a great songwriter! These are all original compositions, ten crisp honkytonk tunes that place Ducas in the forefront of the neo-trad country crowd. Worth tracking down, if you can find it out there.

George Ducas "Where I Stand" (Capitol Records, 1997)

George Ducas "Volume Up, Windows Down" (Propel Records, 2010)

George Ducas "4340" (Loud Ranch Records, 2013)
I hate to say it, but this record -- the first from Ducas in years -- was a big disappointment. And I'm a big George Ducas fan: in the prefab world of 1990's Nashville, he was an avatar of inventive, assertive neotraditionalism, a reassuringly robust honkytonker with a modern sensibility. Twenty years later, he seems to have lost faith in his original muse, choosing instead to bang out a loud, aggressive, rock-tinged modern stuff in a bid to keep up with the current crop of beefy-teed, empty-headed, flash-in-the-pan country stars of the moment. It's possible that the folks who are into dudes like Big & Rich, Luke Bryan or Eric Church might also enjoy this -- pop open a sixpack and crank it up loud, whatever. But my DNA doesn't allow me to go down that road... I miss the older (well, actually the younger) George Ducas, the guy who thumbed his nose at by-the-numbers musicmaking and held the line for a little true twang and soul. Oh, well. Other Ducas fans will want to check it out anyway, and see if maybe this brash new album resonates more for them than it did for me.

Dave Dudley -- see artist profile

Due West "Forget The Miles" (EP) (Black River Records, 2011)

Johnny Duncan -- see artist profile

Whitney Duncan "Whitney Duncan" (Self-Released, 2007)

Whitney Duncan "Right Road Now" (Warner Nashville, 2010)

Whitney Duncan "One Shot" (2013)

Holly Dunn -- see artist profile

Ronnie Dunn "Ronnie Dunn" (Sony Nashville, 2011)
A solo set from one half of the chart-topping Brooks & Dunn country duo...

John Durrill "Just For The Record" (United Artists Records, 1976) (LP)
(Produced by Snuff Garrett)
A dreadful, drekky '70s AOR/disco pop album from songwriter John Durrill, who was the keyboard player in the '60s pop group, The Five Americans. You might be fooled -- like me -- into thinking this was a country record, because of Snuff Garrett's participation, and because several songs were co-written with Sandy Pinkard of the country (comedy duo of Pinkard & Bowden). Actually, I guess this is meant to be a split album: Side One is pure pop (and purely bad) while Side Two has several country-tinged tunes, with a little pedal steel and some banjo on the closing track. I guess it was meant to be a "country side," but it's also pretty forgettable. Despite the miserable tepidness of this album, Durrill did manage to crack into the country market in the early '80s, when Merle Haggard had a #3 hit with his song "Misery And Gin," from the soundtrack to the Clint Eastwood film, Bronco Billy, as well as contributing songs to similar flicks such as Any Which Way You Can and Smokey and The Bandit 2. He also had several songs recorded by Cher, which probably gives you a better idea of what this album sounds like...

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Hick Music Index

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