The band’s last release of the 1990s was 1998’s Unbelievable. They were a well-established act by now, and had released their first Greatest Hits set. The new album was slick but played on the group’s strengths to create a radio-friendly yet organic blend. The songs (none of which were written by band members) range from great to mediocre. But even when the material falls short, as it does at times, the record always sounds good, thanks to the band’s harmonies, playing, and the slick but not overdone production (courtesy of the band with Michael D Clute).
The first two singles were both big hits. The one truly great song on the album, the devastating bereavement ballad ‘You’re Gone’, opened the album’s campaign on the singles chart, where it peaked at #4. The disconsolate narrator opens strikingly,
I said “Hello, I think I’m broken”
That facetious initial pickup line draws us into the soaring chorus, set in the present day, when he really is partly broken by the loss of his loved one:
Now I know God has His reasons
But sometimes it’s hard to see them
When I awake and find that you’re not there…
I bless the day I met you
And I thank God that He let you
Lay beside me for a moment that lives on
And the good news is I’m better
For the time we spent together
And the bad news is you’re gone
The song was written by Jon Vezner (husband of Kathy Mattea) and pop songwriter Paul Williams, and remains one of my favorite Diamond Rio recordings, with a beautiful, understated emotion expressed in Marty Roe’s vocal.
The lyrically slight but energetic, charming, and very catchy title track (penned by reliable hit makers Al Anderson and Jeffrey Steele) did even better, just missing the top spot. Disappointingly, the third and last single was then a flop. The understated ‘I Know How The River Feels’ (previously cut by Ty Herndon) failed to make the top 30, making it the band’s worst performing single to date. While its languid pace was admittedly not very radio-friendly, it has a sensitive vocal, pretty tune and tasteful string arrangement, which make it worth listening to.
The frustrated plea to Love, ‘What More Do You Want From Me?’, written by Bob Regan and Mark D Sanders, is very catchy and another favorite of mine. It had been the sole (and non-charting) single from Rhonda Vincent’s very underrated Trouble Free album a year or two earlier. Both versions are great, but Diamond Rio’s harmonies give this version an added force. Also good is the tuneful Bill and Sharon Rice ballad ‘Long Way Back’, in which the protagonist regrets his past choices a little too late to save his relationship, and is stuck brooding in a cafe.
‘Two Pump Texaco’ (written by Michael Dulaney and Neil Thrasher) is a nicely detailed and affectionate laid-back portrait of a country boy who is the third generation in his family to work at the titular gas station. The young man in this song is much more fleshed out as a character, and hence much more realistic, than those on most of today’s radio offerings playing on rural life.
Unfortunately, there is more than a little filler. ‘Miss That Girl’, ‘Hold Me Now’, and the closing ‘(I Will) Start all Over Again’ are all nicely sung, well-played and prettily harmonized, but completely forgettable. ‘I Thought I’d Seen Everything’ is a dull love ballad, written by Shania Twain’s husband Mutt Lange and 80s rocker Huey Lewis, lifted only by the harmonies.
Overall, then, this is certainly not the band’s best work, but it is pleasant listening, with some shining moments, particularly ‘You’re Gone’. It sold well enough, and has been certified gold. It is easy to get hold of cheap copies, but it may be an example of a record best digitally cherry-picked.