Webb Pierce – Caught In The Webb: A Tribute To The Legendary Webb Pierce
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Posted On January 1, 2002
A few younger artists did remember. Gail Davies’ 1978 revival of his hit “No Love Have I” was her first charted single. Ricky Skaggs’ second #1 was a cover of “I Don’t Care”. More recently, Davies took up Pierce’s cause with a vengeance. She assembled an all-star, multi-generational lineup to cover 21 of his biggest hits, a way of reaffirming and upgrading a oeuvre so obscenely neglected.
Representing Pierce’s contemporaries, Willie, George Jones and Billy Walker each acquit themselves superbly. On “Yes, I Know Why”, Jones honors Pierce by singing it like Jones. Walker brings grace to “I Don’t Care”, and Willie does likewise with “That’s Me Without You”.
The other 19 do nearly as well, even Dale Watson, though his rockabillied-up “In The Jailhouse Now” seems a bit too slick. Mandy Barnett, on the other hand, brings stately dignity to “Slowly” as Matt Daly’s pedal steel evokes Bud Isaacs. Charley Pride’s take on “I’m Tired” radiates verve and passion, despite a voice rougher around the edges. While Rosie Flores’ sweet voice often undercuts her frequent rockabilly sorties, she ably acquits herself stomping through “I Ain’t Never”.
Dwight Yoakam reaches off the beaten path for the plaintive “If You Were Me”, a 1955 Pierce Top Ten that, compared to his other blockbusters, has slipped through the cracks. Emmylou Harris creates a delicate, dignified interpretation of Pierce’s first hit, the Cajun ballad “Wondering” (originally recorded in 1937 by the Riverside Ramblers). Robbie Fulks joins Joy Lynn White for a playful, joyous “Tupelo Country Jail”. Backed by fetching western swing, Matt King capably navigates “Even Tho”.
Framed by 1950s-style accompaniment, Allison Moorer creates a chilling rendition of “Back Street Affair”. Crystal Gayle’s “More And More” reflects her own forceful approach, a trademark vocal style not unlike Pierce’s own. This isn’t the first time Del McCoury has recorded “I’m Walking The Dog”, a staple of bluegrass repertoires for years; McCoury’s first version came in 1975. Lionel Cartwright applies just the right amount of romantic innocence to “That Heart Belongs To Me”.
Just as BR549 captures the ’50s feel of “There Stands The Glass”, Trent Summar nails the essence of “It’s Been So Long”. Backed by the Jordanaires, Guy Clark’s rollicking “Honky Tonk Song” remains close to the original. Davies’ take on “Love Love Love” is straightforward, but Kevin Welch’s bluesy acoustic duet with Pierce’s daughter Deborah on “Why Baby Why” was a great idea not so well executed. As the guitars grind away and Welch snarls his way through, Ms. Pierce’s harmonies are virtually buried. Pam Tillis closes the album with a tough, no-nonsense “No Love Have I”.
The mixes seem a bit messy at times, which may explain why the Jordanaires and Carol Lee Singers occasionally threaten to overwhelm the lead vocalists they’re backing. It’s also a mystery why the cover includes a bland portrait of an unsequined Pierce, clad in coat and tie that makes him look like a 1950s CEO.
But these are minor quibbles. In the end, Davies and company not only proclaim the raw, elemental magic of Pierce himself, they reveal a repertoire ripe for future incursions by artists with sufficient vision and taste.
