By 1992 Aaron Tippin was well on his way to becoming a one-hit wonder when his second and third singles tanked at country radio. On the surface, he seemed to have a lot of things working against him: he was slightly older than most new artists and had more twang in his voice than was generally considered commercially viable, even in those days. He also lacked the chiseled good looks that were important in a genre that was becoming increasingly image conscious.
Tippin’s commercial fortunes changed with a song about a car that, with the notable exception of its entertainment system, was a pile of junk. The catchy “There Ain’t Nothin’ Wrong With The Radio”, which he co-wrote with Buddy Brock, was tailor-made for radio and quickly shot to #1, becoming his first chart-topper. It was released one month in advance of his sophomore album, Read Between The Lines, which like its predecessor, was produced by Emory Gordy, Jr. He followed this success with “I Wouldn’t Have It Any Other Way”, which could have been titled “You’ve Got To Stand For Something Redux”. It’s a decent but not terribly original, as it is sonically and lyrically very similar to his first hit. Nevertheless, it reached the Top 5.
Aaron stumbled a bit with the album’s third single, “I Was Born With A Broken Heart”. It only reached #38, though it outperformed Josh Logan’s original 1989 version. Like all of the songs on Read Between The Lines, “Broken Heart” is a Tippin co-write. I consider it to be the weakest of the album’s four singles. “My Blue Angel”, though a bit shallow lyrically, was more radio friendly and returned Tippin to the Top 10. It’s less traditional than the rest of the album, but with a voice like Aaron Tippin’s pretty much anything sounds country.
RCA missed an opportunity by not releasing as a single the ballad “If I Had It To Do Over”, which is my favorite track on the album. I also quite like the upbeat honky-tonker “I Miss Misbehavin'”, a co-write with Charlie Craig and Mark Collie in which Tippin takes a nostalgic look back at his younger hell-raising days.
I have to admit that I didn’t pay a whole lot of attention to Aaron Tippin during his commercial heyday. I enjoyed most of his radio hits but not enough to make we want to buy any of his albums. Listening to the entire album for the first time more than twenty years after its release, I realize how easy it was in the 90s to take for granted an album like this, which may not have been one of favorites at the time, but would be extremely welcome if released today.