The Oak Ridge Boys - see artist discography

Jamie O'Hara "Rise Above It" (RCA, 1994)

Jamie O'Hara "Beautiful Obsession" (Valley, 2002)

The O'Kanes "The O'Kanes" (Columbia, 1987)

The O'Kanes "Tired Of Running" (Columbia, 1988)

The O'Kanes "Imagine That" (Columbia, 1990)

The O'Kanes "The Only Years" (Columbia, 2000)
A formidable neo-trad duo, Jamie O'Hara and Kieran Kane had remarkable success on the mid-'80s charts, considering how stripped-down and acoustic-based, in fact, how downright folkie their sound was! This is an odd best-of, sampling songs from the duo's three Columbia albums, yet it mysteriously omits their lone chart-topping hit, "Can't Stop My Heart From Loving You," which hit #1 in the Spring of '87. Still, this disc gives a good sense of what they were all about... I can't say I'm really that much of a fan; their sound was a little too sparse and reserved for my ears, but at least they eschewed the onerous, echo-y overproduction of the time... (Kane's later solo albums are worth checking out, and some are reviewed in my Alt.Country section.)

Jamie O'Neal "Shiver" (Mercury, 2000)

Jamie O'Neal "On My Way To You" (Mercury, 2003) (Unreleased)
I guess I'm with George Jones: country just ain't country anymore, and O'Neal is as good an artist to pick on as any to prove the point. Oh, sure, she sort of hits an old-fashioned novelty groove on songs such as "Tryin' To Find Atlantis," and she can hit a Crystal Gayle-ish pop ballad groove (on sappy slow songs like "When Did You Know?") but her records are dominated by glitzy, overblown rock-soul arrangements, and precious little twang. The overly-obvious lyrical gestures towards an audience of presumably harried, perpetually frazzled and looking-for-love working gals are a little tiresome as well: does this sort of stuff really attract a widespread audience? I dunno. I guess as a latter-day practitioner of Judds-style country-pop, O'Neal is alright, but what's with this whole rocker wannabee thing? Can't these folks just play real country music anymore? Either that, or stop looking for airplay on the Country charts? I guess O'Neal's label ultimately agreed, since this album wasn't released commercially, even though the disc briefly went out to radio... Oh, and then they released her from her contract.

Jamie O'Neal "Brave" (Capitol, 2005)
(Produced by Keith Stegall, Rivers Rutherford & Jamie O'Neal)
Well, she took her marbles and moved over to a new label... and took some of her songs with her, too. I don't still have my copy of the On My Way To You album, so I can't really remember if the mixes of "Atlantis" and the other songs are still the same or not, but I guess it doesn't really matter, since this album isn't really my cup of tea, anyway. The songs are generally high-concept pop-soul with countryish affectations -- a fiddle here, and banjo plunk there -- and lots of drums, samples and synth riffs in support of O'Neal's flat, half-recited vocals. She's trying to pull a Sara Evans or a Shelby Lynne, but it really isn't working. I can see how she'd have her fans, and they must be ecstatic that her record did finally come out, but I find it rather dreary and robotic. The would-be working girl anthem, "Girlfriends," is particularly blunt and ineffective. I'll pass.

Orrall & Wright "Orrall & Wright" (Warner-Giant, 1994)
(Produced by Lynn Peterzell, Robert Ellis Orrall & Curtis Wright)
Songwriters Robert Ellis Orrall and Curtis Wright had both kicked around Nashville for quite a few years before teaming up as a duet to record this jovial little outing. They have a refreshing faith is clean, simple, dumb pop hooks, and the uptempo numbers on here, like "I'm Outta Here," "Go West Young Men" and "Pound Pound Pound," are hard to resist. The slower numbers are a bit less catchy, but still, nothing to whine about, really. It's slick, but mostly pretty fun.

K. T. Oslin - see artist discography

The Osmond Brothers "Greatest Country Hits" (Curb, 2003)
As far as I can tell, none of these early '80s recording were ever actually that big on the Country charts, but they do have a certain dorky, formulaic, corny charm. Combining the barbershoppish group vocals of the Statler Brothers, et al, with a brisk, by-the-numbers musical backup (and a certain cutesy, wink-wink, nudge-nudge, isn't-it-funny-we're-singing-country approach) the Osmonds nonetheless were able to eke out some entertaining moments, as on "She's Ready For Someone To Love Her" or "Baby When Your Heart Breaks Down." The '50s rock-tinged numbers seem out of place, but I'm sure that won't dissuade diehard fans, who'll be glad to see these Reagan-era oldies back in print on CD.

Donny & Marie Osmond "The Millennium Collection" (Universal, 2001)
Fans complain, perhaps with reason, that this half-this, half-that collection shortchanges Marie's country career, and also doesn't have enough of their (rather dreadful) pop duets on it. I can't say I'm wild about any of their stuff (I still have sweat-drenched, teeth-clenching nightmares of seeing their TV show back in the '70s...) Still, this disc is noteworthy for including the original version of Marie Osmond's huge 1973 Nashville hit, "Paper Roses," which is, arguably, the best thing she's ever done. Heck, even I like it -- in an I'll-never-admit-it, guilty pleasure kind of way.

Marie Osmond "The Best Of Marie Osmond" (Curb, 1990)
Ten tracks, collecting her '80s hits and not-so-much-hits for the Curb label. As usual, I find myself surprised at how cheesy and lackluster the Curb production style can be, although overall this seems to be less slapdash than, say, their work for the various Judds albums. Anyway, Marie's OK; basically soft pop, but she fit in with the synthy "country" of the times, and made it into the Top Ten several times. Silly stuff from a real country perspective... especially tracks like "Think With Your Heart," which steals its hook directly from some old Sheena Easton song or another. But hey, what are ya gonna do? Includes a so-so remake of her old 1973 hit, "Paper Roses," in which Marie sounds a bit like Patti Page... but the original was better.

Marie Osmond "Paper Roses" (MGM, 1973)

Marie Osmond "In My Little Corner Of The World" (MGM, 1974)

Marie Osmond "Who's Sorry Now" (MGM, 1975)

Marie Osmond "This Is The Way That I Feel" (Polydor, 1977)

Marie Osmond "There's No Stopping Your Heart" (Curb, 1985)

Marie Osmond "I Only Wanted You" (Curb, 1986)

Marie Osmond "All In Love" (Curb, 1988)

Marie Osmond "Steppin' Stone" (Curb, 1989)

James Otto "Days Of Our Lives" (Mercury, 2004)
(Produced by Paul Worley & Scott Parker)
Absolutely torturous. Overly cerebral and baroque, with tons of busy pop production and intrusive rock-styled guitars... His vocals seem derivative of any number of '70s/'80s roots rockers, calling to mind The Allman Brothers, Marshall Tucker Band, Bob Seger... you see where I'm headed with this, right? The nods towards Southern rock are balanced by goddawful sappy ballads like "Song Of The Violin" or the single, "Days Of Our Lives." This is one of those dreadful albums where every aspect is so painfully obvious and belabored -- and controlled, as well: Otto makes all these motions like he's some rowdy rocker, but he never really cuts loose, it's all so restrained and overly calculated that it seems soulless and alienating. Bah. Nothing on here for me. (Note: Mercury released a promo edition of this album in '03 that had several different album tracks that do not appear on this version.)

James Otto "Sunset Man" (Warner, 2008)

James Otto "Shake What God Gave Ya" (Warner, 2010)

Paul Overstreet - see artist discography

Tommy Overstreet - see artist discography

Buck Owens - see artist discography

Jake Owen "Startin' With Me" (RCA, 2006)

Jake Owen "Easy Does It" (RCA, 2009)

Jake Owen "Barefoot Blue Jean Night" (RCA, 2011)

The Ozark Mountain Daredevils - see artist discography

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Hick Music Index

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