Garth Brooks’ sixth album Fresh Horses came in November of 1995, just as he was on the cusp of a three-year tour that would earn him multiple CMA Entertainer of the Year honors. The main criticism of Brooks at the time where rumors he was going pop after the massive success he’d had in the previous few years. That turned out false, as Brooks instead issued an album featuring more of his songwriting than anything up to this point and thus more of him and the topics he most enjoyed singing about. Seven Million copies have been sold to date.
The first single was an effortless love song entitled “She’s Every Woman.” His 14th number one, he co-wrote the tune with Victoria Shaw, who he teamed up with for “The River” three years earlier. “She’s Every Woman” is one of Brooks’ most delicate love songs, with a lush production, and tender vocal. It’s one of my favorite things he’s ever done.
The album’s second single is a prime example of how Brooks’ ego can get the best of him, leading to lapses in judgment. “The Fever” is a cover of the Aerosmith song and horrible country-rock. It worked in concert, with Brooks shaking open water bottles into the crowd, but didn’t translate to a studio recording. Country Radio gave it a deserved lukewarm reception resulting in a #23 chart peak.
Brooks rebounded with the third single, his 15th number one “The Beaches Of Cheyenne” a tune about a woman going crazy after too many years putting up with her rodeo cowboy husband. She would tear apart their home and eventually drown off the California coast, all while he ‘rode a bull no man should ride.’ It’s an excellent tune about tolerance, and with ample steel guitar, one of his more country leaning efforts.
The fourth single was another ‘statement’ song from Brooks, a ballad given a hard-to-watch video with heartbreaking footage of the Oklahoma City Bombings. C-written by Tony Arata and Wayne Tester and peaking at #19, “The Change” is another of his powerful singles, although I can see where some may find it heavy handed. On 9/11, when I got home from eighth grade, this was the first song I ran to my room to play. Brooks’ powerful vocal sells me on the track every time.
Easily one of Brooks’ most idiotic singles was released next. “It’s Midnight Cinderella,” co-written by Brooks with Kim Williams and Kent Blazy, is direct pandering to the line-dance craze that had reached its peak by 1996. I do love the honky-tonk production, but the lyrics are trepid at best. Country Radio, though, loved it as the song peaked at #5.
I love vivid story songs so the final single is right up my alley. The track is a co-write between Brooks and Leigh Reynolds, and reached a peak of #4. “That ‘Ol Wind” details the story of a young mother who reunites with an old musician fling when he’s ‘back in town for one last show.’ Not much is said between the pair, least of which the money he hid or the fact her song is actually his. The track is excellently crafted and a testament to Brooks’ power at country radio that it would even peak inside the top 10, when most songs of its ilk have a very difficult time of gaining serious traction.
The singles from Fresh Horses are wildly uneven at best, with attempts at trying different sonic textures at the hope of diversifying Brooks’ appeal. When bad they were horrible, but a few gems managed to sneak in there. As for the album tracks, they proved somewhat more enjoyable, although a couple of generic songs sneaked in. “Rollin’” is a generic slice of unmemorable bluesy country rock, while “Cowboys and Angels” is just another cowboy song to add to Brooks’ repertoire. He co-wrote “The Good Stuff,” which he used to open each date on his massive 1996-1999 World Tour.
“Ireland” is probably my favorite of the album cuts, an anthem to the emerald isle that may seem puzzling coming from Brooks’ pen, but just works really well as a song. The other excellent inclusion is his version of Bob Dylan’s “To Make You Feel My Love.” The track, which he recorded for the Hope Floats soundtrack in 1998, was added to Fresh Horses during The Limited Series re-release. The sparse piano ballad is an excellent showcase for Brooks’ tender voice and was a complete 180 from everything he was doing at the time. The track works really well, even if it’s more a slice of pop than anything resembling traditional-leaning country music.
As a whole, Fresh Horses is a solid Brooks album that features some fantastic songs mixed with a lot of filler. Even though “The Change” gained notoriety, “The Beaches of Cheyenne” is the album’s only essential track and the one Brooks includes in his concerts to this day. I’ve always enjoyed the tender side of Brooks’ persona, one that’s often overlooked, which tracks like “She’s Every Woman” and “That ‘Ol Wind” show off (as does Sevens’ “She’s Gonna Make It” and “You Move Me”) perfectly. As compared to some of Brooks’ earlier recordings, a lot of Fresh Horses has held up well overtime, too, which is saying something. This isn’t Brooks’ finest work by any means, but the aforementioned numbers are among his most underrated.