Don’t Step Away · Kelly Willis (Official Music Video)

Released Jun 15, 2018
Bruce Robison and Kelly Willis bring their Holiday Shindig to Gruene Hall on Dec. 2, 2017
Music video by Kelly Willis performing “Don’t Step Away” from her new album, Back Being Blue (Thirty Tigers). Filmed by Spencer Peeples Produced by Bruce Robison Music in this video Song Don’t Step Away Artist Kelly Willis Album Don’t Step Away Licensed to YouTube by The Orchard Music (on behalf of Premium Records); BMG Rights Management (US), LLC, and 4 Music Rights Societies

This is a snappy li’l number that jumps up and grabs your full attention. I love the Spring ahead/forward vibe of this track! This grainy b&w says traditional old school but we already know Kelly is the queen of putting the hurt back in Country Music. Her Kentucky brother, Tyler Childers, from another mother, has already been celebrated on Durham Cool and everywhere quality matters.  This is a great, almost overlooked, track from 2018 that now finds its way onto Durham Cool for the first time.

Kelly Willis with Acoustic Guitar strung over her back
This great song, a strong message (resonates today) remake is worthy of our attention. Kelly does a great job of bringing this song forward into the 21st.
Kelly Willis
Kelly Willis B&W with Guitar
Kelly Willis and Bruce Robison looking out the rear window of flat bead truck

Kelly Willis – Harper Valley PTA (Studio Version)

Song Harper Valley Pta Artist Kelly Willis and Bruce Robison Album Our Year Licensed to YouTube by The Orchard Music (on behalf of Premium Records); EMI Music Publishing, BMI – Broadcast Music Inc., Warner Chappell, CMRRA, PEDL, and 3 Music Rights Societies
Harper Valley Pta Song by Jeannie C. Riley Overview Listen Lyrics Other recordings Artists Analysis Share Lyrics I wanna tell you all a story ’bout A Harper Valley widowed wife Who had a teenage daughter Who attended Harper Valley Junior High Well, her daughter came home one afternoon And didn’t even stop to play And she said, “mom, I got a note here from the Harper Valley PTA” Well, the note said, “Mrs. Johnson You’re wearin’ your dresses way too high It’s reported you’ve been drinking And a-running ’round with men and goin’ wild And we don’t believe you oughta be a-bringin’ up Your little girl this way” And it was signed by the Secretary Harper Valley PTA Well, it happened that the PTA was gonna meet That very afternoon And they were sure surprised When Mrs. Johnson wore her miniskirt into the room And as she walked up to the blackboard I can still recall the words she had to say She said, “I’d like to address this meeting of the Harper Valley PTA Well, there’s Bobby Taylor sittin’ there And seven times he’s asked me for a date And Mrs. Taylor sure seems to use a lotta ice Whenever he’s away And Mr. Baker can you tell us why Your secretary had to leave this town? And shouldn’t widow Jones be told to keep Her window shades all pulled completely down Well, Mr. Harper couldn’t be here ‘Cause he stayed too long at Kelly’s Bar again And if you smell Shirley Thompson’s breath You’ll find she’s had a little nip of gin And then you have the nerve to tell me You think that as the mother I’m not fit Well, this is just a little Peyton Place And you’re all Harper Valley hypocrites” No, I wouldn’t put you on because it really did It happened just this way The day my mama socked it to the Harper Valley PTA The day my mama socked it to the Harper Valley PTA Source: LyricFind Songwriters: Tom T. Hall Harper Valley Pta lyrics © Warner Chappell Music, Inc
Kelly Willis sitting on chair looking back at camera
Kelly Willis Collage

Kelly Willis Put the hurt back in Country music

 

What occurred in the Nashville music machine and mainstream country music is our fault. Our collective fault due to the passive way we comply when our music devolves to a corporate advertisement rather than a human expression drawn from “real” lives. Country music was and still is the best full heart expression of human suffering expressed in song (see cathartic) that has an efficacious healing benefit to human beings of all castes (rich, poor, red or blue state).   Today’s mainstream country music is just like the formulaic pop music that passes for quality music.  Now, this author sounds like purist snob doesn’t he?

I argue that quality has a way of making its way through the insipid noise not in spite of but because we all know better.  Waylon and Willie were right and artists today like Chris Stapleton rise due to the qualitative human heart need.  When you’re hurting a song about taking your Silverado 4X4 down the beach with a bed full of bud lite just doesn’t cut it.

Kelly Willis is a Waylon and Willie artist of the highest order who should be on every Nashville station today and especially when, What I Deserve first arrived. What I Deserve is the fourth studio album by Kelly Willis, released more than six years after her eponymous album. The album was her highest on the Billboard country charts at #30. Two of the tracks were written by Willis’s husband Bruce Robison.

Country music’s critical darling for well over a decade, Kelly Willis took the tough, edgy, country rock of Austin, Texas, brought it to the center of the country industry in Nashville, and then returned to Austin in the late 1990s so that she could keep her own creative vision foremost in her career. Once named one of the 50 most beautiful people in the world in People magazine’s annual listing, Willis, virtually alone among country singers, showed up in magazines like Vogue during her stint in Nashville. But she kept the camera lens secondary to her singing and purposefully continued to work out a musical style that combined rockabilly toughness with country heartache. Boldly inviting comparisons between herself and the legendary country-pop singer Patsy Cline, she has in fact received several that were not unfavorable.

Willis was born in Lawton, Oklahoma, in 1968, but as a young child, she lived in several different places. Her father, a U.S. Army colonel, divorced her mother when Willis was nine years old. Her mother had played the piano and acted in musicals, and in her absence, Willis began to sing to herself very frequently. In an interview with Rolling Stone ‘s Karen Schoemer, she recalled her father’s reaction: “Well, that means you’re happy,” he said. “But actually,” Willis continued, “I think … it’s more to help you if you’re not happy. That’s what it was for me.”

She spent most of her teen years in the Washington, D.C. suburb of Annandale, Virginia, and remembers driving and singing along with a tape that had Patsy Cline’s music on one side and blues-rock cult favorites NRBQ on the other. She talked her way into the job of lead vocalist with her boyfriend’s rockabilly band, which was soon rechristened Kelly and the Fireballs. When the band moved to the musically overflowing city of Austin, Texas, in 1987, Willis went along. Her “very strict” father, she told Rob Tannenbaum of Rolling Stone, did not approve.

In Austin, Willis encountered a great variety of musical influences. The city, located squarely in the middle of country music’s Texan heartland, had a music scene in the late 1980s that mixed the country heritage with an experimental spirit that admitted rockabilly, blues, and even the brittle gloom of alternative rock. Willis, who by 1990 was fronting a band called Radio Ranch, absorbed these influences and rose to the top of Austin’s intensely competitive live-music hierarchy. She was only 21 years old.

Word of Willis’s talents reached country music’s power brokers in several stages. She made a strong impression with a performance at Austin’s South by Southwest music festival, an annual spring meeting of great importance in music industry circles. The Texan folk singer-songwriter Nanci Griffith, at the time well placed with MCA Nashville executives as a result of having written several hit songs for other country artists, brought Willis to their attention. Finally, MCA president Tony Brown, who had already championed innovative country newcomers, Steve Earle and Lyle Lovett, called Willis to Nashville. After a showcase at the Bluebird Cafe, one of the Nashville nightspots most frequented by music industry figures, she was signed to MCA.

Willis’s first album, 1990’s Well Travelled Love, immediately vaulted into several critics’ year-end, best-of-the-season lists. Her voice, full-throated and passionate, attracted the most attention. Jan Hoffman wrote in the Village Voice that as a singer, Willis had “the smooth confidence of a power-lifter oiled for competition.”