Album Review: Sammy Kershaw – ‘Honky Tonk Boots’
November 26, 2012
Posted by on
Released in June 2006, Honky Tonk Boots reunited Sammy Kershaw with Buddy Cannon and Norro Wilson, the duo who had produced his early albums for Mercury. But instead of being a back to basics project, the album unfortunately stands as an example of how artists past their commercial peak — particularly those who tend not to write their own material — have difficulty accessing quality songs. Honky Tonk Boots has its good moments but it relies too heavily on novelty songs and second-rate material.
Things get off to a rocky start with the opening track and lead single “Tennessee Girl”, in which Sammy is at the Department of Motor Vehicles to get vanity license plates in order to impress his latest love interest. It’s a fluffy number with repetitious lyrics, clearly not meant to be taken too seriously. It would probably be nitpicking to point out that “Tennessee Girl” is too long to fit on a license plate. The Bob DiPiero and Craig Wiseman tune was the album’s only charting single, peaking at #43.
I like the title track a little better (but just a little). It’s another beat-driven boot-scootin’ boogie style song with lightweight lyrics and sounds like a throwback to the line-dancing craze of the 90s. Things pick up considerably with the third track “One Step At A Time”, which while not quite in the same league as “Yard Sale”, “I Can’t Reach Her Anymore” or “Politics, Religion and Her”, is the best song on the album.
Among the better tracks on the album are two faithful-to-the-original cover songs, “Baby’s Got Her Blue Jeans On” and “The Battle”. The former had been a #1 hit for Mel McDaniel in 1985. Sammy’s version was released as a single but did not chart. The latter had been an under-performing single for George Jones in 1976, peaking at #16. Jones is the singer to which Kershaw is most frequently compared and the influence is apparent here, but good though Sammy’s performance is, even he can’t out-possum the Possum.
The remainder of the album is dominated by either filler or silly novelty tunes such as “Mama’s Got a Tattoo”, which attempts to use humor to stir up feelings of patriotism, and “Cantaloupes on Mars”, which is a series of “when hell freezes over” type cliches about the end of a relationship.
His only release for the independent Category 5 label, Honky Tonk Boots is decidedly a mixed bag. It does have its moments but is badly marred by inferior material. It’s not a terrible album, but it is definitely not essential listening. Inexpensive copies are easy to find should you decide to seek it out.