Rhonda’s second Giant album took broadly the same approach as its predecessor. Producers James Stroud and Richard Landis provide sympathetic backings for Rhonda’s sparkling vocals. Sadly, however, country radio had begun its move in a poppier direction following the crossover success of Shania Twain, and Rhonda’s music was just a little too traditional for the time.
‘What More Do You Want From Me?’ (written by Bob Regan and Mark D. Sanders) was the only single, and it failed to gain enough airplay to chart. That was a shame, because it’s an excellent up-tempo song with some attitude and banked harmonies as Rhonda bemoans her lot to the personification of Love.
The opening ‘Somebody’, written by Al Anderson and Robert Ellis Orrall, sounds as though it was recorded with an eye on chart potential. It is well sung but feels a bit generic (despite Alison Krauss’s harmony), and is the only disappointing moment. Another song written by Orrall, this time with Curtis Wright and Billy Spencer, the wistful lost-love ‘If I Could Stop Loving You’, is better.
‘It Ain’t Nothin’ New’ is a lovely duet with Randy Travis, written by Larry Cordle, Larry Shell and Betty Keys. Randy’s voice is at its best, and the pair’s voices meld extremely well, while the song is a sweet look at the hard work developing a relationship and keeping it alive once the shine has worn off a little, and affirming their love. It is one of my favorite tracks, with some beautiful fiddle. The love song ‘You Beat All I’ve Ever Seen’ was written by the winning combination of hitmaking songwriter Kostas, veteran Melba Montgomery, and Kathy Louvin (daughter of Ira). It has a pretty melody and a sweet and sincerely delivered lyric.
Melba Montgomery wrote ‘An Old Memory (Found Its Way Back Home Again)’ with Jerry Salley. This is a delightful up-tempo number with Rhonda wryly facing the revival of feelings she thought she had left behind, with an unexpectedly cheerful feel as she attacks the lyric, comparing her ex’s memory to
an old dog that you drop off just outside of town, uninvited, comin’ back anyhow.
The vibrant up-tempo title track was written by Carl Jackson and Jerry Salley, and is also highly enjoyable. Rhonda triumphantly denies that her ex’s departure has caused her any sleepless nights. The sunny ‘The Blues Ain’t Workin’ On Me’ was written by George Teren and Tom Shapiro, and features a cameo from Dolly Parton on harmony.
‘When I’m Through Fallin’ Apart’ written by Michael Huffman, Gene Dobbins and Bob Morrison, is another good song, with Rhonda deferring a promising new prospect for new romance until she has got over the last one.
The John Jarrard/Kenny Beard-penned ballad ‘At The Corner Of Walk And Don’t Walk’ has a lovely traditional feel and tune with some atmospheric steel guitar underpinning the melancholic mood, although the metaphor feels a little forced. The underlying story, with the protagonist calling from a payphone as she has second thoughts about leaving, and uncertain whether her future lies with or without her lover, is still good, and Rhonda’s vocal is excellent, making this another favourite of mine.
The album was no more successful than its predecessor, and it marked the end of Rhonda’s flirtation with mainstream country music. It is however, a very fine album which has a lot to appeal to country fans.