Richard Landis, who was best known at the time for his work with Lorrie Morgan, produced Earl Thomas Conley’s eighth studio album, Yours Truly, released in June 1991. It was Conley’s final album for RCA, his final to chart (it peaked at #53), and his first not to produce a #1 hit since he joined the label ten years earlier.
The album was preceded by “Shadow of a Doubt,” an excellent and engaging uptempo rocker co-written by actor and singer Tom Wopat. It peaked at #8 yet deserved to go much higher.
The second single “Brotherly Love” was a duet he had recorded with Keith Whitley back in 1987 for the intended follow-up album to L.A. To Miami Whitley had recorded with his producer at the time, Blake Mevis. He convinced RCA to shelve the project, leaving the recordings unreleased.
In 1991, the vocals Whitley and Conley had recorded for “Brotherly Love” were rescued and given a new arraignment by Whitley’s next producer, Garth Fundis. The track served as the lead single for his first official posthumous release, Kentucky Bluebird. It peaked at #2 and was nominated for the CMA Vocal Event of the Year award in 1992, where it lost to “This One’s Gonna Hurt You (For A Long, Long Time)” by Marty Stuart and Travis Tritt.
In a recently unearthed interview Whitley gave to Ralph Emory in 1987, before the album with Mevis was shelved, in fact it was even due for a September release when they spoke, Whitley said it was Joe Galante’s (The head of RCA) idea he record a duet with a male artist on the label. Galante suggested Conley. The excellent ballad, about “a bond that brother’s know” had originally been recorded by Moe Bandy in 1989 and Billy Dean in 1990. Whitley and Conley’s version was the first and only time the song had been recorded as a duet.
Conley’s commercial fortunes would greatly diminish after “Brotherly Love.” His next two singles would be his last to chart, although neither would peak very high. “Hard Days and Honky Tonk Nights,” which he co-wrote with Randy Scruggs, was a rather strong song, buried in production that was dosed in fiddle, yet just too loud. “If Only Your Eyes Could Lie” was a wonderful steel-drenched ballad in his classic style, updated for modern times. The single peaked at 36 and 74 respectively.
The ballad “You Got Me Now” opens the album as a bridge between his classic sonic textures and the updated sound Landis brought to the record. The song is unspectacular but good. “One of Those Days” is also solid, but it lacks a layer of emotion from Conley. The dobro-infused “Keep My Heart On The Line” is an infectious mid-tempo number that wouldn’t have been out of place in Whitley’s hands at all.
The cleverly titled “You’re The Perfect Picture (To Fit My Frame of Mind)” is easily the most traditional I’ve ever heard Conley, and the results are spectacular. This uptempo honky-tonker just might be the best moment he ever committed to record. “Borrowed Money” sounds like something John Anderson might have recorded at the time, and while the two artists are hardly alike, Conley does exceptionally well with this song. “I Want To Be Loved Back” is good, but the distracting, cheesy, and unnecessary backing vocalists are incredibly jarring.
Yours Truly is an excellent album, which to my ears, has aged remarkably well. I love seeing artists with a somewhat updated sound and Conley shines here. “Brotherly Love” is the standout track and well deserved big hit. Go to YouTube and stream everything else. You won’t be disappointed.