Country music from a fan's point of view since 2008
Jann Browne had parted ways with Curb Records by the time her third album Count Me In was released in 1995. Seeing as it was her first independent record, no singles were released to country radio.
The twelve-track album includes four songs Browne co-wrote with Pat Gallagher. “Baby Goodbye” is a bluesy ballad accentuated with gorgeous lead guitar licks, while “When The Darkest Hours Pass” is mid-paced and delightful. “White Roses” is a mournful ballad brimming with dobro and “Dear Loretta” concerns a woman writing a letter after moving away and landing a job in New York City.
Browne co-wrote every track on the album, including writing two solo. “Hearts On The Blue Train” is an engaging slick rocker that opens the record with energy and gusto. “Red Moon over Lugano” is a western waltz complete with Spanish elements and ear-catching accordion work.
Lee Ann Womack found a lot to love on “Trouble’s Here,” a nice twangy shuffle she included as an album track on her eponymous album two years later. Both versions are equally excellent, which is saying a lot after Womack has lent her vocal to track. In another era, this song would’ve garnered the attention it so richly deserved.
It was one of six songs Browne co-wrote with Matthew Barnes, including the title track, which starts slowly before picking up the tempo with a percussion-heavy arrangement that nearly drowns out her vocal. “One Tired Man” is an album highlight, a sinister ballad about a man coming face-to-face with his many demons.
“Long Time Gone” is song of escape, an anthem for moving on with confidence. “Ain’t No Promise (In The Promise Land)” is a killer contemporary ballad, with strong production and a simply perfect lyric. “I Have No Witness” is even better and it’s shameful the song remained an album track.
Count Me In perfectly exemplifies why the female insurgence of the 1990s was so important to the vitality of country music. The women of country music during that era set the lyrical standard and influenced a generation of country music fans of which I’m proud to say I’m a part.
This album is a songwriting goldmine that should never have fallen through the cracks. It was clear by 1995 that Jann Browne did not have a place as an artist in mainstream country music. But, Womack and “Trouble’s Here” not withstanding, Count Me In should’ve made the rounds behind the scenes for cuts by Trisha Yearwood, Patty Loveless, Martina McBride and the like, who held (and continue to hold) Matraca Berg and Gretchen Peters to the highest standard. Judging by this album alone, Browne should’ve stood right along side them.
I highly recommend seeking this one out if you’re able to come across a copy.
Grade: A
My Kind of Country 