Marty’s mainstream debut, on Columbia in 1986, was an inauspicious one. Originally released as a budget-priced eight-track “mini-album” (increased to none when the CD version came out in 1992), none of the songs is particularly memorable, Marty’s vocals were not very distinctive, and the production, courtesy of Curtis Allen, is largely dated country rock.
His debut single was the rockabilly ‘Arlene’, written by Allen, which featured Vince Gill on electric guitar. It crept into the top 20 and is quite entertaining, and similar to the music Steve Earle was making at that time. This promising start turned out to be Marty’s biggest hit on Columbia.
The rockier ‘Honky Tonker’, written by folk rocker Steve Forbert, then flopped – unsurprisingly in my opinion as it is boring and yelly. The mid-tempo ‘All Because Of You’ is a mid-tempo love song also from Forbert’s pen which is a bit better. It crept into the top 40, but it is lyrically very repetitive and the instrumentation and production now sound very dated (and very pop). There is a guitar cameo by rock guitar legend Duane Eddy.
Final single ‘Do You Really Want My Lovin’’ was another chart failure, although it is quite a catchy mid-tempo country rocker. It is one of three tunes co-written by Marty, in this case with Steve Goodman. The blaring saxophone sounds a bit out of place but the track is otherwise enjoyable, and I wonder if it might have done a little better if it had immediately followed ‘Arlene’ while Marty had some momentum.
Marty’s other co-writes here were with his producer Curtis Allen. ‘Heart Of Stone’ is another pretty good country-rock number, which sounds like a slightly over-produced version of something the Desert Rose Band might have recorded, and has Kathie Baillie (of Baillie & The Boys) on harmonies. ‘Maria (Love To See You Again)’ is a pleasant sounding Western themed ballad and story song, with one of the more country-styled productions on the record, with Marty playing mandolin for the only time on the album as a well as electric guitar, but the vocals are uninspired. It is also one of only two tracks to feature a fiddle, the other being the song added to the CD reissue. This is the slow ‘Beyond The Great Divide, written by Jack Wesley Routh and J C Crowley, and it features the instantly recognisable harmonies of Emmylou Harris. I don’t know if it was recorded at the sessions for this album and rejected, or if it was intended for the follow-up which never materialized.
In contrast, Marty’s cover of The Band’s ‘The Shape I’m In’ is too far in the rock direction for me.
‘Hometown Heroes’ is a fine song written by David Mallett, and it is one of the better tracks although the production is uninspired and the tune strains Marty’s voice beyond its limits. The interesting song deals with the wild side of life in a small town and the tragedy of a wannabe rebel who ends up dying young.
Overall there seems to be a lack of artistic identity with Marty not sounding as though he really knew what kind of music he wanted to make and trying out various personae. In the liner notes for his new album, he talks about this period of his career, saying he “tried to play country music, but it felt like rock & roll”, and that is rather what it sounds like. He was lucky to get another chance, but luckily he was to prove he was worthy of one. The CD is available, but not particularly cheaply.