My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Randy Sharp

Album Review – Holly Dunn – ‘Getting It Dunn’

HollyDunnGettingItDunnA year after releasing her first retrospective, Holly Dunn returned with the album that would serve as closure to the commercial phase of her career. Getting It Dunn was released in June 1992 and spawned four singles, none of which cracked the top 40 on the charts.

Mel Tillis’ mid-tempo honky-tonker “No Love Have I,” served as the first single, peaking at #67. Despite a generous helping of steel, and Dunn’s impeccable vocal, the track didn’t chart higher although it deserved to. The Dunn/Chris Waters/Tom Shapiro penned “As Long As You Belong To Me” charted next, peaking at #68. The mid-tempo rocker had a confident vocal from Dunn, although it just wasn’t commercial enough to pop in the current radio climate. “Golden Years,” the third and final single, did slightly better, peaking at #51. A co-write by Gretchen Peters and Sam Hogin, the track is wonderful despite the somewhat sappy string section heard throughout.

The album’s other notable track is “You Say You Will,” composed by Verlon Thompson and Beth Nielsen Chapman. Dunn’s version of the bluesy Dobro infused number appeared just two months before Trisha Yearwood’s take on her own Hearts in Armor album. Both versions are remarkably similar and equally as good, although Yearwood turned in a slightly more polished take, which helped the pensive tune reach #12 in early 1993. Warner Brothers didn’t release Dunn’s version as a single.

Dunn’s usual co-writers Waters and Shapiro helped her write a few other tunes for the project. “Let Go” is somewhat light, with an engaging drumbeat and muscular electric guitar heard throughout. Steel and synth ballad “I’ve Heard It All” is a revelation, with Dunn playing the part of a jilted lover done with excuses. “You Can Have Him,” marks similar territory and is the best of three, with an engaging beat, and polish that had it ripe to be a single.

Shapiro teamed up with Michael Garvin and Bucky Jones to write “I Laughed Until I Cried,” a fabulous break-up power ballad with one of Dunn’s most emotion filled vocals on the whole album. Craig Wiseman co-wrote “If Your Heart Can’t Do The Talking” with Lynn Langham. The steel and dobro infused mid-tempo number is excellent and wouldn’t have been out of place on one of Yearwood’s early albums. Wally Wilson and Mike Henderson composed “Half A Million Teardrops,” another mid-tempo number and one more example of the excellent recordings found on Getting It Dunn. Karen Brooks and Randy Sharp’s “A Simple I Love You” rounds out the album, and Dunn provides the project’s standout vocal. I love the steel on this, too, although the rest of the production is a touch heavy-handed.

Holly Dunn will always be a quandary to me. Her vocal and songwriting abilities are outstanding, but the production on her records was always lacking in that little bit of extra polish that would’ve sent her over the top to the leagues of say a Trisha Yearwood or a Kathy Mattea. But that isn’t to suggest her music was lacking in any particular way to be less than excellent, it just wasn’t always embraceable by country radio and their standards at the time. But, thankfully, commercial prospects aren’t everything, and Getting It Dunn is another glorious addition to her already wonderful discography.

Grade: A

Album Review: Patty Loveless – ‘Only What I Feel’

Only What I FeelAfter the breakthrough of Honky Tonk Angel, it must have been very frustrating for both Patty Loveless and her label that her career seemed to have plateaued. The next two albums, 1990’s On Down The Line and 1991’s Up Against My Heart, did not sell as well, and although her singles were still charting, they were not as consistently successful as those from Honky Tonk Angel. Patty believed she was not a priority for MCA, which had a number of other high-profile female singers including Reba McEntire. She negotiated a release from the label and signed with Epic.

A further delay ensued when as she began recording new material for her Epic debut, it became clear that her vocal cords had suffered serious damage, and if nothing was done, her career could be over. She underwent surgery at the Vanderbilt Voice Center, which saved her career. Indeed, if anything, her voice sounded even better afterwards than it had done at the outset of her career, with greater depth. She returned to the studios with husband Emory Gordy Jr as producer, and the result was a very accomplished mixture of commercial appeal and artistic achievement. Only What I Feel was released in April 1993.

After all this, and the fact that her last MCA single had stalled at #30, it was vital that her first single for Epic re-established her as a star. It certainly did that, because the vibrant ‘Blame It On Your Heart’ (written by Kostas with the legendary Harlan Howard) was Patty’s first #1 since ‘Chains’ hit the top three years earlier. The attitude-filled lyric has Patty showing no sympathy for her ex:

“Blame it on your lyin’, cheatin’, cold dead beatin’, two-timin’, double dealin’, mean mistreatin’, lovin’ heart”

So far, radio had showed more enthusiasm for Patty’s up-tempo material, and sadly the reception for the beautiful ballad ‘Nothin’ But The Wheel’ was tepid, the single only just squeezing into the top 20. It remains one of my personal favorites of Patty’s recordings, and was also nominated by several readers as their favorite in our recent giveaway. The song, written by John Scott Sherrill, paints a very visual picture of a woman driving away from her old life, with nothing to show for it, and Patty’s sad, measured vocal realizes the desolation underpinning the lyric perfectly:

“The only thing I know for sure
Is if you don’t want me anymore
I’m holding on to nothin’ but the wheel”

Patty bounced back into the top 10 with the beaty up-tempo pop-country of ‘You Will’, written by Pam Rose, Mary Ann Kennedy and Randy Sharp. The song’s production has not worn as well as most of Patty’s records, with slightly intrusive backing vocals, but it was definitely radio-friendly. The album contained other tracks which were potential radio fodder in the same style, the brightly assertive poppy ‘How About You’, and my favorite of the up-tempo numbers, ‘All I Need (Is Not To Need You)’, with its semi-hopeful lyric about trying to get over someone.

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