Released in June 1996, Honky Tonkin’s What I Do Best marks the final album of the hit-making portion of Stuart’s career. His sixth release for MCA Records, and produced as usual by Tony Brown, the album had four singles and peaked at #27 on the charts.
The lead single and title track reunited Stuart with Travis Tritt for their first duet in four years. Released in April of 1996, “Honky Tonkin’s What I Do Best” wouldn’t be nearly as successful as their previous collaborations, missing the top twenty completely, and peaking at #23. It didn’t help that the song rocked harder than their previous work and Stuart’s growly vocal may’ve been a slight turn-off for radio programmers. To make matters worse, the mix of loud guitars and screaming steel hasn’t aged well. But the lyric, about a misunderstood boy who’s born to honky tonk, is still relevant today.
Second single “Thanks To You” wouldn’t faire much better on the charts, peaking at #50 that same year. But Stuart and Gary Nicholson wrote an outstanding lyric that holds up extremely well today. A love song, it’s a thank you note to the woman who saved the man’s life:
I searched for love my whole life through
Then it came like a blinding flash from the blue
Thanks to you
Empty nights and long lost days
Roving eyes and rambling ways are through
Thanks to you
“You Can’t Stop Love,” a guitar-heavy mid-tempo number co-written by Stuart and Kostas, peaked at #26 in 1997. Not as commercial as the previous two singles, it amazes me this garnered more airplay than “Thanks To You,” a much better single choice for the late 90s. But it’s still a good song, although the moody and somewhat dark arrangement is a better fit for Gary Allan than for Stuart.
A final single, “Sweet Love” came in the spring of 1997 but failed to chart. Written by rock and roll singer Del Shannon, “Sweet Love” was far too out of step with the times upon its release. Stuart, meanwhile, seems overproduced a bit and the loud guitar-heavy accompaniment drowns out his vocal.
As “Sweet Love” aptly illustrates, at his core Stuart is an individualist. By not bucking to trends or trying to sound like his contemporaries, his albums come off unique to the man creating them. That downside is that uniqueness doesn’t have a home on country radio. But commercial aspirations aside, it makes for a very interesting listening experience.
The most unique of all the songs on the album is “The Mississippi Mudcat and Sister Sheryl Crow,” which features Bluegrass legend Jimmy Martin along with his country music coon dog and beagle hounds. The track opens with Martin giving a recitation as though he and Stuart are relaxing on a porch in the country. The barking dogs give way to bluesy number heavy on guitar and originality but low on appeal. This is an acquired taste kind of song, and out of place on a commercial country record.
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