Sometimes, it’s when an artist doesn’t have the spotlight
shining directly on them that they do some of their most compelling work. A
strong case of this argument would be the career of Alvis Edgar Owens.
That name might not be that familiar to you, but if I said
“Buck” Owens…you would know exactly who I am talking about. To set up next
week’s look back at “The Music That Built Me,” a little bit of a history
lesson.
Buck Owens made his chart debut in 1959 with “Second Fiddle.”
His next release, “Under Your Spell Again,” would climb inside the Billboard
top ten. From that point through the next four years, Owens’ star would
steadily rise. In 1963, the singer topped the charts for the first time with
“Act Naturally” and “Love’s Gonna Live Here.” From that point through 1971,
each Owens single would top one industry trade chart or the other. He and his
band, The Buckaroos, were on a golden roll. Their style of traditional
honky-tonk fused with a rock and roll attitude was influencing acts inside the
format – and outside of it. Reportedly, the Beatles asked Capitol Records to
send them advances of each Owens recording – and they listened, Do you know
what the flip side of “Yesterday” was? Try “Act Naturally.”
By 1971, Owens was one of the biggest stars in music. Check
that – make that entertainment. His recordings were still selling, and via his
exposure each week on “Hee Haw,” he was one of the best-known performers in the
format. But, there was a little bit of an Owens overflow by that point. Not
only was he on TV each week, but Capitol Records was making sure that the
singer was well represented in the record store. In 1971 alone, the label
released NINE titles with the Owens imprint. There was a lot of Buck around,
and his sales were beginning to fall off just a bit.
Combine that with a willingness from Owens to change his
trademark “Freight Train” sound that propelled so many of his classic 1960’s
records to the top, and all eyes were one Owens the entertainer – but not the
recording artist.
It’s a shame that was the case, because two of those 1971
releases were among his strongest albums. Ruby
(And Other Bluegrass Specials), as you can guess by the title, was Owens’
nod to one of his influences. The Bluegrass sound might have not been
Monroe-pure, but the music was great. Buck’s performance with Don Rich’s
soaring harmonies on “I Know Your Married, But I Love You Still” was out of
this world – as was the fun and frisky “Corn Liquor,” written by son Buddy
Alan. But, speaking of Rich….if you have a copy of the album, take a listen to
the cover of Monroe’s “Uncle Pen.” With all due respect to the “Father,” Rich’s
fiddle licks on the song were the best I have ever heard. Period.
The next release from Owens was just as different. Bridge Over Troubled Water was one of
his most eclectic works. Featuring his top ten cover of the Simon and Garfunkel
cut, Buck also covered Donovan and Bob Dylan. His version of “Homeward Bound”
was more than respectable, and there were also a few originals on the album.
One of those (dramatic drumroll, please) new songs was “The Devil Made Me Do
That,” which in my opinion was THE best Owens composition ever. Yes,
that’s a big statement….but one I will
stand behind!
