Sammy Kershaw and fellow country star Lorrie Morgan joined forces both personally and professionally in 2001. The pair married that year and also collaborated on a one-off project for RCA that was released shortly after the major label phase of both artists’ careers had ended. It wasn’t the first time they’d worked together; both had been members of George Jones’ road band in the early 80s, and they’d made occasional guest appearances on each other’s albums. One of those efforts, “Maybe Not Tonight” was a minor hit in 1999.
On the surface, a joint album from two of the most underrated stars of the 1990s seemed like a good idea; however, they were under-served by mostly second-rate material and the overall result is a rather dull and lackluster affair. The album consists of 12 tracks overall, six duets and three solo performances from each, and yielded only one charting single — the Jimmy Buffet-esque “He Drinks Tequila”, one of the few uptempo numbers in a very ballad-heavy and surprisingly AC-leaning album. It peaked at #39. The interminably dull title track, a remake of a Barbra Streisand and Bryan Adams duet, was released as the second single, followed by “Sad City”, a Kershaw solo effort.
Among the duet numbers, “I Can’t Think of Anything But You”, a very nice ballad co-written by Skip Ewing, David Feritta and Alan Rich, is a highlight, as is “That’s Where I’ll Be”, an original number penned by Kershaw and Morgan. As far as the solo efforts are concerned, Lorrie’s selections are far better than Sammy’s. Particularly good are two introspective numbers in which she reflects on her fading youth — “29 Again” and her own composition, the excellent “I Must Be Gettin’ Older.” Kerhsaw’s solo performances are mostly disappointing; the non-charting single “Sad City”, which is by no means a great song, is the best of the bunch. He does a decent job on the pop standard “What A Wonderful World”, but one wonders why he chose to cover this song that really didn’t need to be remade again, particularly when there were only three solo numbers allotted to him on the album. The self-penned “Sugar” is truly terrible and makes one grateful that most of Kershaw’s catalog was supplied by outside songwriters.
One of the big surprises is how middle-of-the-road the song selections are. Morgan had occasionally ventured into AC-territory and the country music had definitely moved in a more pop direction by 2001, but both artists were known for their traditional leanings. Morgan had recently ended her association with BNA Records, citing her frustration with label pushing her in a more pop direction as a primary reason.
I Finally Found Someone did manage to reach #13 on the Billboard Top Country Albums chart, despite a lack of interest from radio and the fading popularity of both Morgan and Kershaw, but it is largely forgotten today and is an album that only diehard fans will bother to seek out.