Country music from a fan's point of view since 2008
Released in late 1992, Love’s On The Way was the third album released on the Liberty label and his thirteenth major label studio album. Unfortunately it also signaled the end of Lee Greenwood as a viable chart artist. While the immediate prior release of patriotic songs, American Patriot, had sold platinum in the wake of the cowardly attacks of 9/11/01 and temporarily brought the fading Greenwood back into prominence, this more conventional album again failed to chart. The two singles released from the album made almost no impact – “Before I’m Ever Over You” made the slightest dent on the singles charts reaching #73 and the other single released, “I Never Thought Your Memory Would Ever Go This Far” failed to chart at all despite getting a favorable review in Billboard: “Perhaps country’s Phil Collins, Greenwood has a ballad to brag about. Slow and dreamy instrumentation sets the mood for Greenwood’s pristine performance.”
Of course, by the time this album was released, Greenwood had already turned fifty years old, and was rather long in the tooth for the youth-oriented playlists of the early 1990s. My copy of this album is on an audio cassette so I do not have the songwriter or production credits, although I was able to find the session personnel through other sources.
The album opens up with “Before I’m Ever Over You”, a mid-tempo rocker written by Sandy Ramos and Jerry Van Diver. This is followed by the tender ballads “In Other Words” and “Final Touches”
“Linda Lu” would have made an interesting single. The song was originally an R&B hit in 1959 for Ray Sharpe. Sharpe was sometimes described as the ‘the greatest white-sounding black dude ever’ and the song got some rockabilly airplay as well as R&B.
This is followed by “I Never Thought Your Memory Would Ever Go This Far” (discussed above).
“I Miss The Romance” is a decent nostalgic slow ballad. This is followed by the mid-tempo “Soldier Of Love” and another slow ballad in “Waiting On The Tables To Turn”. All three of these are what I would describe as album filler, albeit of decent quality.
On the other hand “She Wants To Be Wanted Again” is a good song that I can see being a hit had it occurred during Lee’s peak years or had it made its way to Kenny Rogers.
The album closes with the title track “Love’s On The Way”, given a very soulful treatment by Greenwood. This sounds like some something that T. Graham Brown or Con Hunley would have tackled successfully.
This album has a slightly more country sound than does some of his earlier albums; however, the early 1990s were the peak period for the “New Traditionalists” movement. Included among the musicians are such country stalwarts as Don Potter (acoustic guitar); Mark Casstevens (acoustic guitar, mandolin); Steve Gibson (electric guitar); Weldon Myrick & Dan Dugmore (steel guitar); Rob Hajacos (fiddle); Brent Rowan (dobro, electric guitar, bass); Matt Rollings (piano); David Briggs (piano, synthesizer); Mike Lawler (synthesizer, organ); David Hungate, Michael Rhodes (bass); Paul Leim, Eddie Byers (drums); Ron “Snake” Reynolds (percussion); and Andrea Zonn, Greg Gordon, Donna McElroy, Russell Smith, Curtis Young, Carol Chase, Cindy Richardson, Karen Staley, J.D. Martin, Russell Smith (background vocals). Even so this is more of a ‘blue-eyed soul’ album than the market was buying at the time plus, of course, Lee was already well into middle age.
I didn’t dislike any of the songs, but I didn’t really love any of them either. I would give this album a C+ or B-.
My Kind of Country 
Lee’s long-time producer Jerry Crutchfield produced this album.
As Paul pointed out Lee’s musical style was not exactly in line with then-current trends in country music. His back catalog of hits was comprised of mostly heavily orchestrated ballads. Those songs created an image for him that was at odds with the younger “new country” stars that were topping the charts with a more traditional sound.
But his biggest obstacle was his own record label. Lee had the misfortune to be on the same imprint as Garth Brooks who became Liberty’s entire focus during that era and took away most of the oxygen from the other acts on their roster. Even if Lee had better material the results probably would have been the same as he received very little promotional attention.