My Kind of Country

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

Daily Archives: April 7, 2017

Classic Rewind: George Jones – ‘The Race Is On’

Album Review: Sawyer Brown – ‘Out Goin’ Cattin”

Sawyer Brown was often excoriated for the frivolous and superficial lyrical content of the songs they recorded, at least in the days before they associated with ace Nashville songwriter Mac McAnally. While it is true that most of their early songs were not that sophisticated or relevant, the fact remains that none of Sawyer Brown’s early albums were b-o-r-i-n-g, being filled with good cheer and frequently danceable music.

Out Goin’ Cattin’ was Sawyer Brown’s third album and also their third top ten country album. While the album was not full of top ten singles, the album, produced by Randy Scruggs is a well produced and organized album, with varying tempos and varying styles of music encompassed within its ten songs.

The album opens with “Lady of the Evening”, a Mark Miller composition. The song is a nice mid-tempo ballad. I don’t like the production much – it reeks of 1980s – but the song is interesting:

She’s got my picture in her locket
I got my hand in her back pocket
Walkin” through the night, in our home town
We take our time as we go strollin’
We might go to a movie, might go bowling
She just says we’ll take on what the night will bring

[Chorus]
‘Cause she’s a lady of the evening
But only just for me man
I’m a wonderin’ why she set her likes on me
She’s got me overflowing
‘Cause she keeps me knowin’
I’ll be doin’ my leavin’
With a lady of the evening tonight

“Better Be Some Tears” is next. Written by Kerry Chater, Bill LaBounty and Beckie Foster, this up-tempo ballad might have been a reasonable choice for release as a single. As relationship songs go, this one is a bit flinty:

Some other fool with his head in the clouds
Might let you get away with what you done
But not me, Baby, not me
You fall out of love and now you’re comin’ around
Any time you want to get back on
We’ll see, Baby, we’ll see
I won’t be waitin’ here forever
Right now I’m tellin’ you

[Chorus:]
There better be some tears
I wanna see some cryin’
Now you do a little dying
To show me you’re sincere
There better be some tears
After the way you left me
Baby if you wanna get me
To let you come back here
There better be some tears

“Not Ready to Let You Go” by Steve Dorff and Mark Miller is a slow, tender ballad that has an easy listening/adult contemporary feel to it, again with typical 80s production.

“Out Goin’ Cattin'” by Randy Scruggs and Mark Miller was the first single released from the album, reaching #11 (it went to #4 in Canada). Frankly, it should have been a bigger hit as it is a fine song with a definite R&B vibe to it. Joe Bonsall, the fine tenor of the Oak Ridge Boys, is featured on the song and the addition of his voice to Mark Miller’s really makes this song work.

We still bop and our cars run hot
We’re out cuttin’ the fool
We’re tearin’ the town got the top laid down
Like we’re back in school
I got a white sport coat and blue suede shoes
We’re gonna find us a Betty and a Bobby Sue

[Chorus]
Well don’t go tellin’ don’t go rattin’
Hey baby baby we’re out goin’ cattin’
Juke joint jammin’ tit for tat
And mama don’t wait up, wait up
We’re out goin’ cattin’
Oh yeah, out goin’ cattin’
Oh yeah, out goin’ cattin’

“The House Won’t Rock” a Frank J. Myers – Mark Miller collaboration rocks but gently. The lyrics are not to be taken too seriously, harkening back to the sort of lyrics that permeated early rock and roll.

Next up is “New Shoes” (Bill LaBounty, Beckie Foster and Susan Longacre). Again the song doesn’t feature especially deep lyrics but it is a celebratory and a decent dance number:

She put me down and left me flat
Like a penny on a railroad track
The dust ain’t even settled yet
Now look at me take my first step
Gonna kick this heartache in the butt
Tonight I’m gonna strut

[Chorus:]
Puttin’ on some new shoes
Gettin’ rid of these old blues
All is takes is one quick change
And I’ll just dance away
In my new shoes

“Graveyard Shift” by Gene Nelson and Paul Nelson is the most meaningful song on the album, proof that even before connecting with McAnally that Miller and company were capable of handling more serious fare. As one who worked graveyard shifts for four years, I can identify with the sentiments expressed in this song.

The only way to make a livin’ round here
Is down there on the loading dock
My daddy done it for 35 years
And old is all he ever got

Guess I was meant to follow in his footsteps
Just like an assembly line
But it’s amazing how long the nights get
When I’m working on the graveyard shift
Yes I’m working on the graveyard shift

Wishin’ I could give someone a piece of my mind
There must be somethin’ better than this
Bein’ buried alive where the sun never shines
Workin’ on the graveyard shift

“Night Rockin’ “, another Scruggs-Miller collaboration, really doesn’t rock at all, being but another mid-tempo ballad. It serves its purpose in that it keeps the tempos varied within the album.
“Savin’ the Honey for the Honeymoon” by J. Barry and Rick Vito is kind of a silly song that was the third single released from the album, dying at #58. The song, which has an early Buck Owens tempo, is another one of those songs about the girl not giving it up until receipt of the wedding band. It makes for a great album cut and was probably a little unlucky not to do better as a single.

Mark Miller’s “Gypsies On Parade” is the closing track. Released as the second single, it just cracked the top thirty. The song, a slow ballad, tells the story of a band’s life on the road. The song is well constructed but not necessarily singles material:

We pulled out of Charlotte
The snow is fallin’ down
We make our way in a one eagle sleigh
‘Til we reach another town
Our name is in lights on the billboard sign
In every town we play
But if you may, all it really need say
Are gypsies, gypsies on parade

This is a pretty entertaining album, with good use of varying tempos, although I would have liked for the album to include at least one really fast song, such as “Step That Step”. The album is marred somewhat by the production, with saxophone passages (mercifully few) played by a Kenny G imitator. As a lead singer Mark Miller continued to show improvement and the band remains cohesive. I can’t quite give this album an A, but it is a solid B+ and one I listened to frequently in the first few years after it was released.