Album Review: Highway 101 – ‘The New Frontier’
December 17, 2015
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Paulette Carlson’s departure was only the first of many changes that Highway 101 underwent in the early 90s. Guitarist Jack Daniels left in 1992 and the following year the remaining band members found themselves on a new label. They’d also parted ways with Paul Worley and Ed Seay, who had produced all of the band’s albums at to that point. Curtis Stone and Cactus Moser took over production duties along with Chuck Howard.
The changes were not for the better. While Worley and Seay had surprisingly managed to keep much of Highway 101’s signature sound intact, despite the change in lead singers, the Highway 101 heard on 1993’s The New Frontier sounds like a completely different band. The band members took over more of the songwriting responsibilities — Moser and/or Stone had a hand in writing six of the album’s ten songs. The New Frontier is less traditional than the band’s previous work; the more contemporary stylewas more beat-driven (as opposed to lyrically driven). This style was often marketed as “New Country”, “Young Country” or “Hot Country” in the early 90s. While not a terrible album, the material is noticeably weaker than their earlier efforts. Not that it mattered very much; by this time that band had slipped into commercial irrelevancy. The final nail in the coffin was the new label to which the band was signed. Liberty Records had made Garth Brooks its one and only priority — to the detriment of every artist on the label, including Paulette Carlson, whose lack of success as a solo artist was partially blamed on Capitol/Liberty’s lack of promotion.
“You Baby You” was the album’s lead single and the band’s last single to chart, landing at #67. The second single, “Who’s Gonna Love You”, a Curtis Stone song, is surprisingly unmemorable despite having been co-written by Matraca Berg. I prefer “Fastest Healin’ Broken Heart”, a Stone co-write with Pat Bunch, which comes the closest to the band’s previous musical style. It’s one of a handful of songs on the album that I truly liked, along with “Home on the Range” and “I Wonder Where The Love Goes”, a very nice ballad that closes out the album. This one must have been a particular favor, because it was later re-recorded during Chrislyn Lee’s stint as lead singer.
I intensely disliked the rock-tinged “Love Walks”, “You Are What You Do” and “No Chance To Dance”, the latter two being attempts to capitalize on the popularity of line dancing. The rest of the album’s songs are strictly forgettable.
As noted earlier, the writing was already on the wall, so it came as no surprise that The New Frontier was Highway 101’s one and only release for Liberty. It was also the band’s last recording for a major label. It is not essential listening and not particularly worth seeking out unless you are a completist music collector, in which case used copies can be obtained cheaply.