In the early 1990s, the major Nashville labels signed a seemingly endless string of cookie-cutter male artists that became known as “hat acts.” Travis Tritt was a notable exception. Not only did he not look like his contemporaries, he was less restricted by the musical boundaries of the era, offering up a healthy dose of Southern rock with more traditional country fare.
T-R-O-U-B-L-E was his third album for Warner Bros., released in the summer of 1992. Like his two previous albums, it was produced by Gregg Brown. It produced five singles, beginning with the blue collar anthem “Lord Have Mercy On The Working Man”, which featured a chorus of guest artists including Brooks & Dunn, T. Graham Brown, George Jones, Little Texas, Dana McVicker, Tanya Tucker, and Porter Wagoner. The Kostas-penned tune, unlike the cliched “I’m country” songs that plague the airwaves today, paints a sympathetic picture of the protagonist and makes him someone to which the listener can relate. It reached #5 on the Billboard country singles chart, and was followed by the #1 hit “Can I Trust You With My Heart”, a song he co-wrote with Stewart Harris. Tritt has always been a strong, if somewhat underrated ballad singer and nowhere is that more evident than on this song, which shows his more vulnerable side.
The pace changes dramatically with the uptempo title track, which was a cover of a 1975 Elvis Presley single. Travis does the song justice, but it has never been one of my favorites. It was somewhat surprising to learn that it only peaked at #13, since it seemed to me that it was overplayed on the radio. “Looking Out For Number One”, a kiss-off number in the vein of “Here’s A Quarter, Find Someone Who Cares”, is much better. In no uncertain terms, Travis announces that no longer will he be anyone’s doormat. This is another one of his own compositions, co-written with Troy Seals. Surprisingly, it only reached #11. The final single, “Worth Every Mile”, which he also wrote, only reached #30, possibly due to a lack of promotional push by the label. It deserved to chart higher.
Also quite good are the Marty Stuart number “A Hundred Years From Now” and the self-penned “Blue Collar Man”, on which he revisits the working class theme again, this time with a more Southern rock arrangement. Less enjoyable is the bluesy “Leave My Girl Alone”, a cover of a Stevie Ray Vaughan hit that closes the album. Clocking in at just under nine minutes, it is self-indulgent and overly long. But even though it is not to my personal tastes, Tritt deserves credit for pushing the envelope. It’s hard to imagine any of the other top male acts from the era trying to tackle this number.
Though T-R-O-U-B-L-E contains many fine cuts, I’m not much of a Southern rock fan so it makes for a somewhat uneven listening experience. However, it is worth seeking out a cheap copy if you don’t already own a copy.