My Kind of Country

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

Tag Archives: Chris Waters

Album Review: The Forester Sisters – ‘The Forester Sisters’

Not many realize it, but the Forester Sisters were the first all-female group (defined as three or more members) to have sustained success on Billboard’s Country Singles charts. In fact, they are still the female group boasting the most top ten singles with fifteen.

The Forester Sisters’ first foray came with the eponymous album The Forester Sisters, released in August 1985. The album opens up with the first single “(That’s What You Do) When You’re In Love” which made its chart debut on January 28,1985.The song would reach #10, the first in a string of fourteen consecutive top ten county singles, five of which reached #1. The song is a mid-tempo ballad about forgiveness, written by Terry Skinner, Ken Bell and J. L. Wallace.

Well, the door’s unlocked and the lights still on
And the covers turned down on the bed
And you don’t have to say that you’re sorry anymore
‘Cause honey I believe what you said
If there’s anybody perfect, well, I ain’t seem ’em yet
And we all gotta learn to forgive and forget
That’s what you do when you’re in love, in love
That’s what you do when you’re in love

Next up is “I Fell In Love Again Last Night” , a mid-tempo ballad from the pens of Paul Overstreet and Thom Schuyler. This song was the second single off the album and the group’s first #1 record.

I fell in love again last night
You keep doing everything just right
You’ve got me wrapped around your fingers
And every morning the love still lingers
I fell in love again last night

“Just in Case”, written by J.P. Pennington & Sonny LeMaire of Exile, first saw the light of day on Exile’s 1984 Kentucky Hearts album. An up-tempo ballad, The Forester Sisters released it as their third single and saw it sail to #1:

I saw you walkin’ down the street just the other day
Took one little look at me and turned the other way
Can’t say I blame you but I’d like for you to know
How wrong I was to ever let you go

Just in case, you ever change your mind
If you suddenly decide to give me one more try
I’ll be waiting in the wings, just lookin’ for a sign
Just in case you change your mind

“Reckless Night” by Alice Randall & Mark D. Sanders is a slow ballad about a single mother – the baby the result of a reckless night.

“Dixie Man” by Bell, Skinner & Wallace) is an up-tempo tune with an R&B vibe to it. The song might have made a decent single but with four singles on the album, the group had pushed the limits of the time.

Next up is “Mama’s Never Seen Those Eyes” by Skinner & Wallace, the fourth single from the album and third consecutive #1 record. The song is a mid-tempo ballad and the song that immediately comes to my mind when anyone mentions the Forster Sisters to me.

Mama says I shouldn’t be going with you
Mama says she knows best
You’ll take my heart and break it in two
‘Cause you’re just like all the rest
She says that you’re just a one night man
And you’ll end up hurting me
Aw But I’ve seen something that mama ain’t ever seen

Mama’s never looked into those eyes, felt the way that they hypnotize
She don’t know how they make me feel inside
If Mama ever knew what they do to me I think she’d be surprised
Aw Mama’s never seen those eyes
Mama’s never seen those eyes

“The Missing Part” was written by Paul Overstreet & Don Schlitz and covers a topic that the sisters would revisit from a different slant on a later single. This song is a slow ballad.

“Something Tells Me” from the pens of Chris Waters & Tom Shapiro) is a mid-tempo cautionary ballad about rushing into a relationship

The next track is “Crazy Heart” written by Rick Giles & Steve Bogard. The song is a mid-tempo ballad that I regard as nothing more than album filler, albeit well sung.

The album closes with Bobby Keel & Billy Stone’s composition “Yankee Don’t Go Home”, a slow ballad about a southern girl who has lost her heart to a fellow from up north. Judging to feedback from friends who have heard this song this might have made a decent single

The Forester Sisters would prove to be the group’s most successful album, reaching #4 on Billboard’s Country Albums chart. In fact the album would prove to be their only top ten album, although another seven albums would chart. The album has traditional country lyrics and vocals although the accompaniment has that 80s sound in places, particularly when it comes to the keyboards. The musicians on this album are Kenny Bell – acoustic guitar, electric guitar; Sonny Garrish – steel guitar; Owen Hale – drums; Hubert “Hoot” Hester – fiddle, mandolin; Lonnie “Butch” Ledford – bass guitar; Will McFarlane – acoustic guitar; Steve Nathan – keyboards;J. L. Wallace – acoustic guitar, electric guitar, keyboards; and John Willis – acoustic guitar. Terry Skinner and J.L. Wallace produced the album and co=wrote two of the singles.

I should note that my copy of the album is on vinyl so the sequence of the songs may vary on other formats. Anyway, I would give this album an A-

Album Review: Linda Davis – ‘Linda Davis’

In 1992, Linda released her second album. Like the first it was produced by label boss Jimmy Bowen, with Linda getting a co-production credit, but it was uninspiringly self-titled. Where her earlier singles had failed to make much impact, the singles from this record were resoundingly ignored by country radio.

The reason why is clear when you listen to ‘There’s Something ‘Bout Loving You’, an upbeat but thoroughly forgettable pop-country song which now sounds very dated. It was written by hitmakers Chris Waters and Tom Shapiro, but was one of their poorest efforts, and a really bad choice for a single for an artist hoping to make her breakthrough. The follow-up, Dewayne Blackwell’s ‘He Isn’t My Affair Anymore’ is a much better song, an emotional ballad which Linda delivers with conviction, although it has a bit of a musical theater vibe.

The best song on the album is a cover of John Conlee’s 1982 hit, ‘Years After You’, which Linda manages to make her own with a lovely, emotionally invested vocal, although the production has not aged well, and the backing vocals are curiously old-fashioned for an album made in 1992. But the song itself is a great Thom Schuyler song about an enduring love which long survives a breakup:

I knew that it wouldn’t be easy
For my heart to find somebody new
But I never thought
It still would be broken in two
These years after you

They tell me time is a natural healer
It kinda smooths the pain away
But this hurtin’ within hasn’t yet given in
And it’s been over 2000 days
I still remember the taste of your kisses
And your eyes that were beautifully blue
I can still hear the sound of your voice
When you said we were through

There’ve been mornings when I couldn’t wake up
There’ve been evenings when I couldn’t sleep
My life will be fine for months at a time
Then I’ll break down and cry for a week
‘Cause when I told you I’d love you forever
I know you didn’t think it was true
But forever is nothing compared to some nights I’ve been through
These years after you

‘LA To The Moon’, another emotional ballad, is a fine song written by Susan Longacre and Lonnie Wilson about a country star and the hometown sweetheart left behind:

You were always different
Had a big dream in your heart
This old cowtown couldn’t hold you down
Once you caught your spark
I stood out on the runway
And watched you taxi past
I would’ve gone anywhere with you
But you never asked

You went from Beaumont to LA
And LA to the moon
An overnight success
You put a lot of years into
You tell me nothing’s different
I’m just a call away from you
But it feels more like the distance
from LA to the moon

‘Isn’t That What You Told Her’ is another excellent song, written by Karen Staley and Karen Harrison, with a barbed lyric addressed to a man with a questionable past record in love by his new love interest, who is understandably dubious. It is very well sung, but once more with dated backings.

‘Tonight She’s Climbing The Walls’ is a story song about a neglected wife ready to make a break, written by Craig Bickhardt and very well sung by Linda. ‘The Boy Back Home’, written by Gary Harrison and Tim Mensy, is another ballad, about nostalgia for a first love, and is quite nice in a more contemporary style.

Of the up-tempo material, ‘Just Enough Rope’ (later cut by Rick Trevino) is fun. ‘Love Happens’ and ‘Do I Do It To You To Too’ are both forgettable pieces of filler.

As a whole, this album is hampered by some of the production choices, but it did show Linda was a great singer given the right material, and some tracks are definitely worth downloading.

The commercial failure of this record was to lead to an unexpected second chapter in Linda’s career. Released by her label, she signed up as Reba McEntire’s backing vocalist, and the result would make country music history.

Grade: B

Album Review: Ty England – ‘Two Ways To Fall’

Ty turned to Byron Gallimore and James Stroud to produce his second RCA album in 1996. It was filled with positive, mainly up-tempo material, without a broken heart in sight.

The lead single, the energetic up-tempo blue-collar love song ‘Irresistible You’ is, if not quite irresistible, quite enjoyable, although the production is a bit too busy. Written by Billy Lawson, it peaked at #22. The second and final single ‘All Of The Above’, written by Chris Waters and Jon Robbin, failed to crack the top 40, but I actually prefer it. It’s a little fluffy lyrically, with its multiple choice test with no wrong answers, but Ty’s earnest vocal sells it as a sweet love song.

Ty was generally more at home on the upbeat material. The frantic opener ‘It Starts With L’, written by Sandy Ramos, is very catchy and could have been a single. ‘Never Say Never’ (by Al Anderson and Craig Wiseman) has a similar vibe.

The title track, written by husband and wife team Barry and Holly Tashian with Mark D Sanders, is a nice mid paced song about the ups and downs of love, although the arrangement does sound a little dated now.

‘I’ll Take Today’ is a nice ballad about an encounter with an ex he no longer regrets losing, and affirming his love for his present partner. ‘Sure’ is another pleasant love song.

‘The Last Dance’, written by Tony Martin, Reece Wilson and Roger Springer, is a lovely midpaced story song on the lines of Rhett Akins’s 1995 hit ‘She Said Yes’, with a shy boy finding love at a high school dance, and then marrying the girl:

Nervous and scared I asked you for a dance
All of my buddies said “Yeah, right, fat chance
She’ll never go for a good ol’ boy like you”
But somewhere between my stutter and stammer
Before I could ask you had already answered
And to my surprise you said that you’d love to

And they all laughed when I stepped on your toes
But they got quiet when you moved in close
They lost their smiles when they knew they’d lost their chance
My two left feet couldn’t do a right thing
I looked like a fool but I felt like a king
Oh, they got a laugh
But look who got the last dance

Nervous and scared after saying “I do”
All of my buddies made fun of the new groom
As they stood in line waiting to kiss the bride
They kept us apart dancing with you all night long
But when the band started into their last song
I was the one standing by your side

I really like this song. The same writing trio provided ‘Kick Back’, a bright western swing tune about accepting life.

The highlight of the record, though, is ‘Backslider’s Prayer’, a touching story song about a man struggling with life and faith who ends up praying out loud in a crowded diner:

He said “I know this ain’t the time or place
But Lord, I need to talk”
In a business suit in a corner booth
In a crowded little restaurant

We all tried not to listen
We all tried not to look
But a whole room full of customers
And the waitress and the cook
All stopped what we were doing
When he bowed his head
In that silence we heard every word he said

“I’ve been trying to do things my way
Down here on life’s highway
Slippin’, slidin’ sideways
Between no way and nowhere
If I could only gain a foothold
Up there on your high road
Lord, if you hear me help me
I’ll do anything you tell me to
All I’ve got to offer you is this
Backslider’s prayer

Well, the waitress made the first move
When she filled his coffee cup
She said “You ain’t alone here, mister
You’re speaking for the rest of us”
I heard some scattered Amens
And a couple of “I’ve been theres”
Then things got back to normal
The dishes and the silverware
Were clanging in the kitchen
Like an angels’ band
As I took my place in line
To shake his hand

While a perfectly capable singer, Ty was not at all distinctive as a vocalist, and the lack of emotional depth and variety on this album is another drawback. It’s not a major surprise that radio lost interest, and RCA pulled the plug on his record deal after this album. It remains pleasant listening, but not essential.

Grade: B

Album Review: Wade Hayes – ‘When The Wrong One Loves You Right’

After Wade’s cover of ‘Wichita Lineman’ failed to catch fire, the recording was swiftly removed from his upcoming album. The next single, which became the true lead single for 1998’s When The Wrong One Loves You Right, was much more successful, reaching #5. It is a great story song written by Mark D Sanders and Steve Diamond, about a young Oklahoma couple, told with subtlety. Led in with a wistful fiddle, the narrator is blindsided by his girlfriend’s pregnancy and her subsequent shame-filled choices:

No, she wasn’t showing yet
But she’d be by Christmas time
Up there like a fool
I took for granted it was mine
She never came out and told me I was wrong
But all of a sudden the light came on
The day that she left Tulsa
In a Chevy in a hurry in the pouring down rain
With the caution lights flashing in the passing lane
From a bridge I watched our dreams going down the drain

I guess she thought the truth would end up driving me away
Well, she was wrong
But I never had the chance to say

This is an outstanding song and performance. Unfortunately the title track did not repeat its predecessor’s chart performance, failing to make the top 40. It’s an up-tempo Leslie Satcher song which is actually pretty good.

The mournful undertones in Wade’s voice are perfect for the next single, ‘How Do You Sleep At Night’, written by Jim McBride and Jerry Salley, as he reproaches his ex:

Do you see me when you close your eyes?
How do you sleep at night?

Now your side of the bed’s as cold
As the lies that I believed
I’m at the point when I can’t even trust you in my dreams
Did the way you left me leave you feeling proud?

This time he was rewarded with a #13 peak for what proved to be his last hit single.

Wade’s last single for Columbia was the song originally intended as the album’s title track. ‘Tore Up from the Floor Up’ is an up-tempo honky tonker which is quite good but not very memorable.

Wade co-wrote two of the songs. ‘Are We Having Fun Yet’ (written with Chick Rains and Lonnie Wilson) is a good honky tonk number about a married man who discovers the grass isn’t greener on the party side of life. ‘One More Night With You’, written with Rains and producer Don Cook, is a decent mid-tempo tune about the dreariness of a working life contrasted with a happy love life.

‘Summer Was A Bummer’ is a charming song penned by Dean Dillon and Hank Cochran which Dillon had recorded himself a decade or so earlier and Ty Herndon also cut. It is a closely observed conversational number about a college girl’s coming home to her hometown (and her farm-based sweetheart) after a year away. Wade’s vocal is exquisite, and there is some lovely fiddle.

‘If I Wanted To Forget’ is a beautiful sad ballad written by Tom Shapiro and Chris Waters about not fully letting go of an old love. ‘Mine To Lose’, written by Paul Nelson, Larry Boone and Matt King, is addressed to the protagonist’s ex’s new love, regretting his own past failures, and is another fine song. Lewis Anderson and Jason Sellers wrote the delicate ballad ‘This Is My Heart Talking Now’, a last ditch plea to a loved one not to give up on their relationship.

This record was not as successful commercially as it deserved to be, but it is well worth rediscovering.

Grade: A

Album Review: Wade Hayes – ‘On A Good Night’

Released in June 1996, On A Good Night was Wade’s second album on Columbia. Produced by Don Cook, who also sings background on the album, the album climbed to #11 on the country albums chart and reached gold (500,000 sales) status. The album features a Who’s Who of Nashville session musician with Bruce Bouton on steel guitar, Mark Casstevens on acoustic guitar, Rob Hajacos on fiddle, Dennis Burnside on piano and organ, Brent Mason on electric guitar, Glenn Worf on bass guitar and Lonnie Wilson on drums. This is nothing if not a country album.

The album opens up with the title track, written by Larry Boone, Don Cook and Paul Nelson. The first single released from the album, it topped out at #2 on Billboard’s Country chart. The song is a rocking up-tempo romp:

On a good night I could hop in my truck
Round up my friends and with any kind of luck
We could end up howling at a harvest moon
On a good night I could put on my hat
Head down to the honky tonk and dance
But on a real good night I meet a women like you

Brown hair blue eyes once in a life time countrified kind of girl
Heart-breaking chance-taking wild little love making
Shaking up my world
Hey on a good night I can picture the day
All my dreams come true
But on a real good night I meet a women like you

Next up is a nice cover of the Willie Nelson- Hank Cochran collaboration, “Undo The Right”. The original was a top ten hit in 1968 by the ‘Country Caruso’ Johnny Bush. Bush’s recording is one of my top ten all-time favorite recordings. Hayes is no Johnny Bush, but he acquits himself well.

“The Room” was written by Chris Waters and Tom Shapiro. Chris is the brother of the late Holly Dunn and produced many of her records. The song is a slow ballad, rather introspective song of getting over the loss of love. It makes a nice change of pace but would not have made a good single.

Wade collaborated with Chick Rains and the redoubtable Bill Anderson on the up-tempo “It’s Over My Head” . The song was released as the third single from the album and topped out at #46. It’s a good song, well sung and I do not understand why it failed to do better:

That just goes to show how crazy love can be
Look at us now baby who would have thought it
I don’t know why you chose me

It’s over my head and I’m six feet tall
This beats anything I ever saw
Well I don’t see what you see in me at all
It’s over my head and I’m six feet tall

Marty Stuart and Chick Rains wrote “ I Still Do”. The song is a medium-slow ballad that I think could have made an effective single. This is not the same song that was a top twenty country hit for Bill Medley in 1984.

Don Cook and Chick Rains teamed up for “My Side of Town”, an up-tempo rocker that serves well to keep tempos appropriately varied on the album.

Wade Hayes and Chick Rains wrote “Where Do I Go To Start All Over”. Released as the second single from the album, the song stiffed, only reaching #42. It’s a nice ballad but and I’m not sure why it didn’t do better, especially since the previous five singles all went top ten or better.

I drove around last night, and tried with all my might
To leave the past behind, cause you stayed on my mind
So I stopped for a drink, I never stopped to think
That it wouldn’t work, It just made it worse
So I came on back home, I hadn’t changed a thing
And sat here all alone, missing you and wondering

Where do I go to start all over
From your memory
Where do I go to start all over
When in your arms is where I won’t be

“Our Time Is Coming was written by Kix Brooks and Ronnie Dunn and appeared on their Hard Workin’ Man album. The song is a dramatic ballad that Wade does masterfully – in fact it is my favorite song on the album, and I much prefer Wade’s recording to that of Brooks & Dunn.

Times are hard and the money’s tight
Day to day we fight that fight
Nothing new, it’s the same old grind
Uphill all the way

Boss man says forget the raise
Preacher says to keep the faith
Good things come to those who wait
Tomorrow’s another day

Our time is coming
When or where the good Lord only knows
Our time is coming
When this road we’re on will turn to a street of gold

Long as we keep love alive
Something tells me we’ll survive
It’s the little things that’ll get us by
And hold us together

I feel it when you hold me close
Baby we got more than most
Steady through the highs and lows
We’ll go on forever

The album closes with “Hurts Don’t It”, a ballad from the pens of Sam Hogin, Jim McBride & Greg Holland, and the mid-tempo semi-autobiographical “This Is the Life for Me” that Hayes penned with Chick Rains & Gary Nicholson. Dennis Burnside’s piano is well featured on this track.

I really liked this album and would give it an A-.

I am sure that Wade and producer Don Cook was greatly disappointed by the poor chart performance of the last two singles from the album. Accordingly they tried something different.

Unfortunately, that effort failed miserably. As I sit here writing this article I am listening to the single release that effectively killed Wade Hayes’ career at country radio. Intended as the initial single for the next album When The Wrong One Loves You Right, radio reaction to Wade’s cover of the old Glen Campbell hit “Wichita Lineman” single was so negative that the single was withdrawn (it peaked at #55) and ultimately did not appear on that album.

Album Review: Janie Fricke – ‘Labor of Love’

Like most other veteran acts, Janie Fricke was struggling to remain commercially relevant as the 1980s drew to a close. After scoring her final #1 hit, “Always Have, Always Will” in 1986, she suffered a sharp decline in her chart success, from which she never recovered. Although she had shifted to a more traditional sound, Labor of Love, her major label swan song, still had its share of songs that were more pop-leaning than radio was interested in at the time.

Two singles were released from the album – ironically the two weakest songs on the disc and neither one reached the Top 40. “Love Is One of Those Words”, from the usually reliable songwriting team of Holly Dunn, Tom Shapiro and Chris Waters, is a rather lackluster synthesizer-heavy ballad that was completely out of step with the more traditional fare being offered on radio. It peaked at #56. The second single was the Dave Loggins composition “Give ‘em My Number” which is probably my least favorite single of Fricke’s career. It attempts to be bluesy and sassy, and while she skillfully pulled off that style a few years earlier with “Always Have, Always Will” this time around her performance seems forced and the song just does not work for her. It charted a little higher than “Love Is One of Those Words”, landing at #43. It would be Janie’s final single for Columbia Records. Fortunately, the rest of the album is much better. It’s tempting to point fingers at the label for choosing the wrong singles but even if they had made different choices, it likely would have made little difference. Radio had moved on to newer artists and was finished with Janie Fricke, no matter what kind of musical choices she made.

“What Are You Doing Here With Me” is a very pretty ballad from the husband and wife songwriting team of Bill Rice and Mary Sharon Rice. It casts Janie as the other woman – or perhaps a would-be other woman, the extent to which the relationship has progressed is unclear. At any rate she has grown weary of listening to her partner singing the praises of his perfect wife and family, and rightly asks him if things are so wonderful at home, “What are you doing here with me?” “Walking On the Moon” is an upbeat tune about young love and was country enough to have had hit single potential. It is my favorite song on the album and likely would have been a hit if Janie had stumbled across it a few years earlier.
A handful of other songs on the album were recorded by other artists at one stage or another. “I Can’t Help The Way That I Don’t Feel” had appeared on Sylvia’s 1985 album One Step Closer. It’s the type of ballad that is best served by minimal production, and that is where Janie’s version falters. It starts off well but the chorus is too bombastic. “One of Those Things” would become a Top 10 hit for one of its writers, Pam Tillis, in another two years. Janie’s version compares admirably to Pam’s. I would have released it as a single. She also does a stellar job on the album’s closing track, Steve Earle’s “My Old Friend the Blues”, which would later appear on a Patty Loveless album.

One other song, “Last Thing I Didn’t Do”, though not one of my favorites, is noteworthy as one Janie’s very few songwriting credits. She wrote the song with Randy Jackson, who I believe was her former manager and ex-husband (and not the former American Idol judge). Aside from this bit of trivia, there’s nothing particularly interesting about the song itself.

Labor of Love is a solid, if slightly uneven capstone to Janie’s major label career. Although none of its songs qualify as essential listening, it’s still an album that Janie’s fans will want to give a spin, if they haven’t already.


Grade: B+

Album Review: Lari White – ‘Lead Me Not’

lari-whiteLead Me Not was Lari White’s debut album, released in 1993 on the RCA label. This was Lari’s second stab at major label stardom as her prize for winning the television talent show Star Search in 1988 was a recording contract with Capitol Records.

Unfortunately the single released on Capitol (“Flying Above the Rain”) went nowhere and she was released by Capital . A person of many talents, including songwriting, Lari marked time by joining Ronnie Milsap’s publishing house, took acting lessons and performed in local theatre productions. In 1991 after attending an ASCAP showcase Rodney Crowell invited her to perform in his band. White signed to RCA, which brings us to this album, which Rodney Crowell produced.

Lead Me Not spotlights Lari’s vocal prowess and her talents as a songwriter as Lari wrote or co-wrote eight of the ten tracks on the album. The album only reached #36 on Billboard’s Heat Chart and missed charting on the Country Albums chart; however, all three of the singles released charted country (none cracked the top forty).

The album opens up with “Itty Bitty Single Solitary Piece of My Heart’, a co-write with John Rotch. The title sounds as if it would be a novelty number, but the song is actually a bluesy ballad warning off a would-be suitor. Jerry Douglas on dobro is featured prominently in the arrangement.

Chorus:

So you won’t get a taste of this, not even a kiss
The fact that your middle name is heartache is no coincidence
You made a livin’ out of lovin’ and leavin’ ‘em to fall apart
So now you better understand youi’ll never lay one hand on one
Itty bitty little single solitary piece o’ my heart

Next up is “Just Thinking” a romantic piece of cocktail jazz, written by Lari, and one that perhaps would have made a good single is pushed to another genre such as Lite Jazz or Adult Contemporary. Bergan White (no relation) arranged the string accompaniment as provided by the Nashville String Machine.

“Lay Around and Love On You” was written by Bobby David and David Gillon. Released as the third single, the song reached #68 on the country charts. The song isn’t remotely country having a strong New Orleans R&B vibe. It’s a great song, and if released during the mid 1970s or early 1980s, likely would have been a hit.

Time for me to go to work again
But all I want to do is
Lay around and love on you
Seven thirty, but I don’t care
What you’re doing is gonna keep me here
‘Cause all I want to do is
Lay around and love on you

Lay around and love
Lay around and love on you
You’ve got me so turned on
Honey, I can’t turn you loose
Hope nobody calls
Got the phone off the hook
We’re gonna try everything in the book
All I want to do is
Lay around and love on you

“Lead Me Not” was the second single from the album. Written by Lari, the song has a strong gospel feel to the arrangement, not surprisingly since the title is a play on a familiar religious theme. Nice saxophone work by the appropriately named Jim Horn is the highlight of the arrangement.

Well, I should have been home hours ago
I always lose track of the time
I’ll just hold up this wall while I try to recall
A thought from the back of my mind
Oh yeah I remember, it began with a wink
When you caught me looking at you

So don’t ask me if you can buy me a drink
I know what you’re trying to do
Lead me not into temptation
I already know the road all too well
Lead me not into temptation
I can find it all by myself

This is followed by another Lari White solo composition “Made To Be Broken” a lovely, well performed easy-listening ballad.

“What A Woman Wants” was the first single and biggest hit on the album reaching #44. Lari co-wrote this with soon-to-be husband Chuck Cannon (they married in 1994 and are still married, with two daughters). This song deals with the changing roles in society and the effort to try to explain to men what women today want. The song is taken at a quick tempo, and frankly I am surprised that the song wasn’t a bigger hit.

Come here darlin’, let me whisper in your ear
A precious little secret that I think you need to hear
With the way the women’s movement’s always making the news
I can see how a man might get confused
Now a woman doesn’t mind a man holding the door
But slaving in some kitchen ain’t what God made a woman for
We’ve come a long way baby, but way down deep we’re still the same
What a woman wants will never change

What a woman wants is to be treated like a queen
By a man who deserves to be treated like a king
What a woman wants, what keeps her holding on
Is a loving man who understands what a woman wants

The seventh track features a Suzi Ragsdale and Verlon Thompson composition “Anything Goes”. The song has a definite Mexican flair. Verlon’s career as a recording artist never took off, but he remains a prominent songwriter and instrumentalist.

It took until track eight to reach a song that I would regard as truly being country music, that song being “When The Lights Are Low”, a song Lari co-wrote with Chris Waters (bother of Holly Dunn). This song features classic steel guitar work by Tommy Spurlock, fiddle by Jonathan Yudkin and a great vocal by Lari. The song is a prototypical country ballad with lyrics any fans of traditional country music could enjoy and should have been released as the first single. While I don’t know whether or not this would have been a big hit at radio, at least it would have pegged Lari as a legitimate country artist. As it was, if I were a DJ dealing with Lari’s first three RCA singles, I would not known how to classify her (Con Hunley had the much same problem fifteen years earlier).

In the dark I’m just part of the crowd
It’s hard to tell who it is I’m there without
In some tall stranger’s arms
Your memory’s not so clear
I can cry all night long
‘Cause no one sees the tears
Where the lights are low

Where the jukebox plays
The saddest song it knows
Through a smoky haze
Since you’ve been gone
That’s where I go
‘Cause everything looks better
Where the lights are low

Lari collaborated with her future husband again on “Don’t Leave Me Lonely”, another easy listening/adult contemporary ballad. It’s a nice song, well sung but again not especially country. As on track two, Bergan White arranged the string accompaniment as provided by the Nashville String Machine.

The album closes as it began, with a Lari White – John Rotch collaboration in “Good Good Love”. As with the opening number with is a bluesy R&B tinged ballad, with gospel overtones in the production.

If you want a good good love
Hold on when the times are bad
‘Cause if you jump ship when trouble hits
Good for nothin’ is all you’ll have
You gotta anchor down in the winds of doubt
You can’t give in and you can’t bail out
If the water’s high hold your head above
And hang on for that good good love

When love sets sail it’s always a sunny day
And when the skies are blue it’s so easy to make love stay
But when the clouds roll in and the ship begins to strain
You gotta try a little harder
Go on, test the water
‘Cause the air is so much sweeter
After a real good rain

This album features a bewildering array of instruments: bells, bongos, cowbells, dobro, fiddle – you name it, it is probably on here somewhere.

I purchased the album on the recommendation of a friend. I really liked the album but I wasn’t sure where to place it in my collection, finally settling on filing it with my pop/rock/ R&B records. Lead Me Not is a very good album that I would not hesitate to recommend as fans of varying forms of music can find things to like about this album. On this album Lari White reveals herself as a very talented songwriter and vocalist, albeit one not easily pigeonholed. Her breakthrough would occur on her next album, and wouldn’t last long but her music is worth the search.

I would give this album an A-

She still performs and maintains a website where you can purchase most of her music.

Album Review: Lonestar – ‘Lonestar’

lonestarLonestar kicked off their recording career with the eponymous album Lonestar. Released in October 1995, the album hit the streets on the strength of the successful single “Tequila Talkin’” which was released in August 1995 and reached #8. There would be four more singles issued after the album was released. The album received mixed reviews upon its release, more than a few critics viewing the band as a lightweight version of Shenandoah, a comparison I did not feel to be very valid.

The album was definitely decent honky-tonk country music, with the band augmented by a solid corps of Nashville session men such as Bruce Bouton (pedal steel ), Mark Casstevens (acoustic guitar), Brent Mason (electric guitar) and Rob Hajacos (fiddle) and such distinguished vocal harmonists as Curtis Young and John Wesley Ryles. Unless otherwise stated, Richie McDonald handles the vocals on the singles.

The album opens up with the up-tempo ballad “Heartbroke Every Day” from the pens of Bill LaBounty, Cam King and Rick Vincent. This album track featured John Rich on lead vocals, and would be the fifth single released, reaching #18. I like Rich’s vocal, which has a bit of a bluegrass feel to it.

Why do I do this to myself
Why do I want the one that wants somebody else
Don’t you know
I’d get my heart broke every day if I could

Why do I always take the fall
I’d rather have you hurtin’ me than not have you at all
Don’t you know
I’d get my heart broke every day if I could
If I could
Don’t you know
I’d get my heart broke every day if I could

Track two was the first single released, “Tequila Talkin’” penned by Bill LaBounty and Chris Waters (the brother of Holly Dunn). This single reached #8, the first top ten recording for the group:

I don’t know what they put in Cuervo that got me to say those things
Usually I wouldn’t care so much or make such a scene
But seeing you there in that dress you were wearing just drove me right out of my head
So don’t hold me responsible for anything I might’ve said

It was just the tequila talkin’
When I told you I’m still not over you
I get a little sentimental when I’ve had one or two
And that tear in my eye was the salt and the lime
Not the memory of you walkin’
If I said I’m still in love with you
It was just the tequila talkin’

John Rich, Don Cook and Wally Wilson wrote “I Love The Way You Do That’ – a good song but the intro sounds too much like the intro to track two.

“Running Away With My Heart” was penned by Michael Britt, Sam Hogin and Mark D Sanders. This would be the third single released from the album and would reach #8. This song is a mid-tempo ballad, which features some nice steel guitar work by Bruce Bouton.

Hey Buddy can you get me some faster wheels
I got a heartache nippin’ at my heels
I’ll be hurtin’ if she gets a big head start
First that girl stole my attention
Not to mention all my affection
Now she’s running away with my heart

“What Would It Take” was written by Billy Lawson, Larry Boone and Paul Nelson, and is a slow ballad with heavy Nashville Sound string accompaniment of the kind that Billy Sherrill used with George Jones and David Houston. I think that this song, issued 15-20 years earlier, could have been a big single, but by 1995 it was very much an anachronism.

I held the world in my arms
I threw away the moon for the stars
Couldn’t see the forest for the trees
Couldn’t see the love in front of me

What would it take to take me back
Rebuild that bridge, retrace my tracks
I would give all I own
For one little stepping stone
What would it take to take me back

The redoubtable trio of John Rich, Larry Boone and Paul Nelson contributed “Does Your Daddy Know About Me”, an up-tempo honky-tonk song with solid steel and fiddle accompaniment that would have made a good single:

Well you say your daddy is a real cool dude and you keep no secrets from him
Well he knows you got a wild hair, knows your kinda out there and knows about your crazy friends
And he done found out about the night you snuck out with the Cadillac keys
But darlin’ does your daddy know about me

Well he knows you been skippin’ them Sunday School meetings
He’s heard how fast you drive
Knows you got an attitude, seen your little tattoo, but he lets all that slide
And I bet my boots that he think he knows you from A to Z
But darlin’ does your daddy know about me

Billy Lawson’s “Ragtop Cadillac” probably was very popular with line dancers. The lyrics are nothing special but it has a rhythm and feel very similar to “Boot Scootin’ Boogie”.

“No News” was the second single and the first #1 record for the group reaching #1 in both the US and Canada. The song was written by Phil Barnhart, Sam Hogin, and Mark D. Sanders, and tells the story about a man whose woman has left him without telling him.

She said “It’s just a woman thing” and pulled out of the drive
I said not to worry I’m an understanding guy
I’ve heard that when you love someone you gotta let ’em go
She hollered “When I find myself you’ll be the first to know”
Ooh no news

I learned to do the laundry, feed the cat, and clean the house
I promised to be patient while she worked her problems out
When she packed her bags, her destination wasn’t clear
But I sensed that her intentions were honest and sincere
Ooh no news

Chick Rains has written a number of fine songs, but “Paradise Knife and Gun Club” is nothing special, a dance number that makes for a decent album track.

Richie McDonald and Kyle Green co-wrote “When Cowboys Didn’t Dance”, the only song McDonald had a part in writing. The song was the fourth single from the album reaching only #45 (but #18 in Canada). I don’t think I would have released this song as a single, although it makes a decent enough album track.

This would be one of two albums issued by the original lineup of Richie McDonald (lead vocals, acoustic guitar), John Rich (bass, vocals), Michael Britt (lead guitar, background vocals), Keech Rainwater (drums), and Dean Sams (keyboards). Other than John Rich’s contributions, the band relied on outside writers for material. Richie McDonald would emerge as a co-writer on subsequent albums, but I have doubts as to how essential were his contributions to the process.

I would give this album a B+. Of five Lonestar studio albums in my collection, this one is the one I listen to with the greatest frequency as it is the most consistently good album of the bunch.

Album Review: Clay Walker – ‘If I Could Make A Living’

if i could make a livingClay’s second album was released in September 1994. The engagingly bouncy title track was written by Alan Jackson, Keith Stegall and Roger Murrah, and charged to #1 on the country charts. It has a copyright date of 1989, so I assume it was a reject from Alan’s first album, but it has genuine charm if not much depth.

Passionately sung ballad ‘This Woman And This Man’ about a couple on the cusp of breaking up was another chart topper. The run of hits was halted with ‘My Heart Will Never Know’, the final single, which peaked at #16. The sad lost love song was another ballad, with a pretty melody.

‘You Make It Look So Easy’ is another sad love song, written by Chris Waters and Tom Shapiro, with the protagonist failing to cope with a breakup.

However, the record was dominated by up-tempo numbers. One of my favourites is the insistent kiss-off ‘What Do You Want For Nothin’, written by Keith Follese and Michael Woody. Clay demands scathingly,

All I wanted was your love
But it was more than you would pay
Now you want a second chance
To give me more of the same

What do you want for nothin’, baby,
A solid gold guarantee
That you get everything you need?
But there was no love in it for me
You wanna deal on the way I feel
But I’m not buyin’ that
What do you want for nothin’, baby?
Your money back???

‘The Melrose Avenue Cinema Two’ is an effervescent reminiscence of childhood friendship and teenage romance which is quite enjoyable. ‘Boogie Till The Cows Come Home’ is ramped up western swing with honky tonk piano.

Clay wrote four songs, three of them with Kim Williams and Kent Blazy. ‘Heartache Highway’ is a wistful song about failing to patch things up:
It’s a hell of a road
When you’re leavin’ heaven behind

‘Down By The Riverside’ is another remembrance of first love. ‘Money Ain’t Everything’ is a dramatic swampy story song full of atmosphere. Finally Clay wrote the solid honky tonk song ‘Lose Your Memory’ solo.
James Stroud’s production isn’t bad, a little dated in places now, but sufficiently recognisable as country music with some nice fiddle, and Clay’s vocals are good throughout. The album sold very well, and was certified platinum.

Grade: B+

Album Review: Clay Walker – ‘Clay Walker’

Clay-WalkerJames Stroud, the mastermind behind Clint Black’s brilliant Killin’ Time, was the orchestrator behind Clay Walker’s self-titled debut album and the man behind his record deal with Giant Records. The proverbial thinking was that magic could strike twice, which it almost certainly did.

The uptempo “What’s It To You,” co-written by Curtis Wright and Robert Ellis Orrall, was chosen as the first single in July 1993. The song, which Wright had recorded a year earlier, shot to #1. The song is very, very good although I can’t help but feel it’s slightly unremarkable.

Walker followed with the brilliant self-penned “Live Until I Die,” a bright autobiographical tribute to his grandparents he wrote when he was seventeen. It also landed at #1 and set in motion Walker’s signature sound – twangy uptempos bursting with effervescence and optimism.

The fourth single, “Dreaming With My Eyes Wide Open,” would follow this trajectory and notch Walker his third chart topper. Written solely by the always-impeccable Tony Arata, it’s the perfect single that marries an infectious melody with an inspiring lyric about living in the moment that bursts with undeniable joy and never gets heavy handed. It’s no surprise the track was featured on the soundtrack to the movie The Thing Called Love.

Sandwiched between the gorgeous uptempo numbers is the self-penned ballad “Where Do I Fit In The Picture,” which stalled just outside the top ten. The track proves Walker has the goods to sufficiently emote a heart-wrenching lyric and the arrangement has a nice dose of steel.

Walker solely wrote two more tracks on the album. “Money Can’t Buy (The Love We Had)” is a wonderful steel-drenched uptempo number that’s a bit of filler, but still easy on the ears. Steel also dominates “Next Step In Love,” a ballad about furthering one’s commitment in a relationship. He co-wrote “The Silence Speaks For Itself,” an unexceptional sinister ballad, with Chris Waters and Tom Shapiro.

“How To Make A Man Lonesome” has nice steel and fiddle-laced production, but is neither here nor there. “White Palace” is an attempt to pander to the line dance craze and by any standard is awful, with a cringe-worthy rhyme scheme in the chorus. He redeems himself with “Things I Should’ve Said,” a worthy ballad that easily could’ve been a single. “I Don’t Know How Love Starts” is excellent and the strongest of this record’s album cuts.

Walker’s debut album is a mixed bag of brilliant 90s country excellence and songs that teeter on the verge of average to below average. Stroud is a capable producer who showcases Walker’s considerable talents wonderfully. Clay Walker is a worthy debut from an artist who would more than live up to his promise in the decade to come.

Grade: B

Album Review: Highway 101 & Paulette Carlson – ‘Reunited’

51HKJyMSbOLSix years after she left for an abortive attempt at a solo career, Paulette Carlson rejoined briefly with bassist Curtis Stone and guitarist Jack Daniels, who had left in 1993.

Gone was drummer Cactus Moser. Also gone was the musical environment that had spawned Highway 101, and any sort of major label record deal as the new album was released on Intersound, a label primarily know for releases by obscure artists, and albums of remakes by over-the-hill first and second tier artists of the not too distant past. Carlson and Daniels would soon depart again and neither has been part of Highway 101 since 1997.

Reunited was released in 1996 and was comprised of twelve tracks. Four of the tracks were reprises of earlier Highway 101 singles (“The Bed You Made for Me”, “Setting Me Up”, “All the Reason Why” and “Walkin’, Talkin’, Cryin’, Barely Beatin’ Broken Heart”). Two new singles (“Where’d You Get Your Cheatin’ From” and “It Must Be Love”) were released, neither of which charted, and there were six other songs on the album.

While I looked forward to getting the album, I found that I was somewhat disappointed in the sound of the album as the overall sound was much louder than previous albums. I also found the album’s use of percussion somewhat jarring. There are points in which the drums are the predominant sound.

The album opens with “Where’d You Get Your Cheatin’ From”, written by Paulette Carlson, Tom Shapiro, and Chris Waters. Had the song been released in 1988 rather than 1996, and with slightly different production, the song would have been a hit single. Unfortunately radio in 1996 was not really friendly to honky-tonk music

“The Bed You Made for Me” was one of Highway 101’s biggest hits, reaching #4 in 1987. This version sticks pretty close to the original arrangement

“Holdin’ On”, written by Christy Seamans and Curtis Stone is a sad song about lost love and abandonment, taken at a slower tempo. It’s a nice album track, nothing more.

Much the same can be said of “Hearts on the Run”, a Larry Butler, Jeff Sauls & Susan Sauls composition. The percussion of is much more subdued on this track, and frankly it sounds more like a Paulette Carlson single than a Highway 101 track.

Mark Knopfler’s “Setting Me Up” is next, a cover that reached #7 in 1989. The arrangement is fairly faithful to the original version, but the track runs about thirty seconds longer than the original version.

Paulette Carlson wrote “She Don’t Have the Heart to Love You” a nice ballad and better than average album track.

In my opinion “Texas Girl” penned by Paulette Carlson, Gene Nelson and Jeff Pennig is the best song on the album, a song that would have been a hit if released anytime between 1950 and 1990. The song is a excellent two-step with one of Paulette’s better vocals. Even in 1996 it might have made a successful single

Another of Highway 101’s hits follows in “All the Reasons Why” by Paulette Carlson and Beth Nielsen Chapman. The song reached #5 in 1988.

“Walkin’, Talkin’, Cryin’, Barely Beatin’ Broken Heart” from the tandem of Roger Miller and Justin Tubb was a surprise hit in 1989, a cover of a Johnnie Wright hit from 1964. This version is true to their #4 hit from a few years earlier. I think Roger Miller had the best version of the song on one of his albums, but this version is very close. In my opinion (humble or otherwise) this is classic country songwriting

If you see me in some corner looking like all hope is gone
If you see me sit for hours and you wonder what is wrong
Well, it hurts to talk about it but my world just fell apart
I’m a walkin’, talkin’, cryin’, barely beatin’ broken heart

Did you see the teardrops fallin’ and the tremble in my hands
Then you’ll know that there’s a story and nobody understands
It’s a sad and lonely story but I’ll try to make it short
I’m a walkin’, talkin’, cryin’, barely beatin’ broken heart

Tony Haselden and Harold Shedd were responsible for “I’ve Got Your Number”, a rather sardonic song that might have made a decent single in another time and place (and perhaps in another genre)

Now word’s around you’re back in town and headed for my heart
I’m not the same I’m one old flame that you ain’t gonna start
There ain’t no doubt the fire went out when you broke this heart in two
So honey, don’t call me til I call you You know
I’ve got your number But your phone ain’t gonna ring off the wall
Because I’ve got your number and honey, that’s the reason I won’t call.

Another decent album track as is the Curtis Stone – Debi Cochran composition “It Must Be Love”.

The final track “Have You Ever Really Loved a Woman” comes from the pens of Bryan Adams, Michael Kamen and Robert John “Mutt” Lange). At the time this album was released, Lange was a few years prior to the mega-success he would experience with his then wife Shania Twain. This song is essentially a Paulette Carlson solo effort. It’s not a bad song but at 5:43 the song is just too long.

This isn’t a bad album, initial reservations notwithstanding. I will say that I was surprised at how integral a part of the Highway 101 sound was Cactus Moser. While John Wesley Ryles is an outstanding background singer (and probably should have been a star in his own right), the vocal blend of Curtis Stone, Jack Daniels and John Wesley Ryles is not the same as that of Curtis Stone, Jack Daniels and Cactus Moser, and the album suffers for it. The CD is an enhanced CD which contains some extra videos and text when played on a CD-ROM drive

I’d give this album a solid B .

Album Review: Shelby Lynne – ‘Soft Talk’

SoftTalkJames Stroud sat at the helm of Shelby Lynne’s third Epic album, Soft Talk. Released in 1991, the project performed anemically both at radio and retail. The album peaked at #55, while the two singles failed to chart any higher then the record.

A duet with Les Taylor, “The Very First Lasting Love” peaked at #50. The second and final single, “Don’t Cross Your Heart,” did slightly worse peaking at #54.

“I’ve Learned To Live” is an excellent mid-tempo contemporary styled number written by Dean Dillon and Frank Dycus. Lynne powerfully expresses the tale of a woman coming back from unimaginable loss, vowing to continue living.

Max D. Barnes, Skip Ewing, and Troy Seals co-wrote “A Lighter Shade of Blue,” a dobro soaked ballad. A story about lost love, she’s having trouble moving on yet is not as affected by the turn of events as she thought she would be.

“You Can’t Break A Broken Heart” is an excellent uptempo bluesy number accentuated with harmonica and a prominent drumbeat. Chuck Jones and Chris Waters’ biting lyric coupled with Stroud’s understated production gives Lynne the ideal space from which to vocally soar.

The title track is another affecting ballad, one that starts off slow before Lynne takes it to the next level. While not the most memorable lyric, she brilliantly tackles what she has to work with.

Jim Lauderdale and John Leventhal co-wrote, “Stop Me,” another contemporary styled ballad in which Lynne delivers vocally. Her throaty voice saves what would otherwise be a bland affair, which is unmistakably pop-country, down to the twangy guitars and ribbons of steel guitar. It also just might be her best vocal on the whole project.

“It Might Be Me” is a piano and guitar based ballad that gives way to a meatier production as the track progresses. Since it’s another ballad it easily gets lost in the shuffle and offers only more of the same found on the other tracks.

In the twenty-four years since being released, Soft Talk has gone out of print and only a handful of its ten tracks have resurfaced on her Epic Recordings compilation project released at the turn of the century. It’s a shame because the album is very good even if it isn’t very radio friendly. I was taken aback that the production contained a lot of contemporary 80s country spillovers, but it was pleasant to listen to none the same.

Lynne, like Kelly Willis, may’ve been on a major label, but their music just wasn’t that appealing to the masses and thus they never caught on in that way. That doesn’t mean they aren’t extremely talented and should be overlooked. Soft Talk may be heavy on ballads but it finds Lynne saving the day with her powerful voice. It’s worth tracking down a cheap used copy if you’ve never heard it.

Grade: B+

Album Review: Ricky Van Shelton – ‘RVS III’

RVS IIIRVS III appeared in January 1990, a little more than a year after Loving Proof. Like its predecessors, it was produced by Steve Buckingham and was a mixture of both new material and some carefully selected covers of older songs that were suddenly back in vogue during the New Traditionalist era. This time around, however, there was slightly less emphasis on rockabilly-style numbers on more on ballads which were proving to be Ricky’s strong point.

Preceding the release of RVS III was a maginificent cover of “Statue of a Fool”, which had been a #1 hit for Jack Greene in 1969. Ricky’s version just missed the top spot, peaking at #2, but it remains one of the standout singles of his career and is his greatest moment of this album. The uptempo “I’ve Cried My Last Tear For You”, written by Tony King (who was engaged to Wynonna Judd at the time) and Chris Waters was the next single. This one did reach #1, but it’s not one of my favorites, which is a not a criticism of the song, but a testament to the strength of the rest of the album. Another great ballad “I Meant Every Word He Said”, in which the protagonist is forced to watch the woman he loves marry another man, also topped out at #2. The album’s fourth and final single was a cover of “Life’s Little Ups and Downs”. The blues-tinged track was an underperforming single for Charlie Rich in 1969. Ricky’s version reached #4, and although it provides a change of pace, it’s my least favorite track on the album.

There are only two rocking numbers on RVS III – “Love Is Burnin'”, which is in the same vein as “Crime of Passion” and a cover of Roy Orbison’s “Oh, Pretty Woman”. The rest of the album was comprised of ballads, most of which could have been hit singles, but Columbia was likely reluctant to release too many ballads in a row to radio. Among these choice tracks are “You Would Do The Same For Me”, a Rory Bourke-Mike Reid composition that I would have preferred to see as a single in lieu of “Life’s Little Ups and Downs”, “I’m Starting Over” written by Kix Brooks with John Wesley Ryles and Mark Sherrill, and a fantastic version of Cindy Walker’s “Not That I Care”. This beautiful waltz had been a minor hit for Jerry Wallace in 1966 (peaking at #44) and had also been recorded by The Wilburn Brothers.

Another standout is album’s closing track “Sweet Memories”, which had been an adult contemporary hit for Andy Williams in 1968 and covered by Willie Nelson in 1979. Ricky is joined by Brenda Lee, who was long past her commercial peak, but her voice was still strong and lovely and complemented his nicely. The track features a tasteful string arrangement which gives it a little more countrypolitan feel than the rest of the album.

Despite a couple of weak spots, namely “Life’s Little Ups and Downs” and the self-penned and forgettable “I Still Love You”, RVS III is packed with top-drawer material and it quickly attained platinum status as its two predecessors have. However, by this time the formula of a few rockabilly numbers and a lot of ballads, a few old songs and a few new was starting to become predictable and may partially account for Shelton’s relatively brief reign at the top of the charts. Nevertheless, it is an album well worth listening to and I enthusastically recommend it.

Grade: A

Album Review: Holly Dunn – ‘Life, Love And All The Stages’

Her stint at Warner Bros. now over, Holly Dunn once again found herself the flagship artist at a fledgling label when she signed with the newly-formed Nashville division of Chicago-based River North Records. In order to regain her lost commercial momentum, she needed to really knock one out of the park, but unfortunately, 1995’s Life, Love And All The Stages is not the home run she needed.

hollydunnlifeloveFor the first time since 1987’s Cornerstone, her brother Chris Waters was not on board as a co-producer, although he continued to be Holly’s songwriting partner and had a hand in writing nine of the album’s ten tracks, most of them with Holly and their usual collaborator Tom Shapiro. Unfortunately, this time around the songwriting team didn’t seem to have a lot to say, despite the three-year gap since Holly’s previous album. Little about the album’s ten songs is compelling or memorable and the project could have benefited greatly by including some tunes from outside songwriters. Replacing Waters as Holly’s co-producer was Joe Thomas. The album is tastefully produced and Holly’s voice is in good form, but the material is not particularly exciting. It is more contemporary-sounding than most of Holly’s previous work, reflecting country music’s shift away from traditional sounds that began in the mid-nineties.

Only one of the album’s singles, “I Am Who I Am”, actually charted. It reached #56, outperforming most of the singles from Holly’s previous effort Getting It Dunn. “Cowboys Are My Weakness” — a Dunn/Shapiro/Waters composition and not the same song that Trisha Yearwood recorded more than a decade later — and “It’s Not About Blame” were the album’s two non-charting singles. These three tracks are the album’s strongest, so River North appears to have made the correct choices in selecting singles, but they were not strong enough to gain any traction at radio. I enjoyed “Rock-a-Billy”, which Holly wrote by herself, although it is a bit fluffy in the lyrics department.

Overall, Life, Love And All The Stages is a pleasant-sounding album, but one that one tends to play in the background while doing other things and not remember much about afterwards. It is little more than a footnote in the Dunn discography. Cheap used copies are still available, and though the album is not essential listening, it is certainly worth the small outlay of cash required to obtain it.

Grade: B-

Album Review – Holly Dunn – ‘Getting It Dunn’

HollyDunnGettingItDunnA year after releasing her first retrospective, Holly Dunn returned with the album that would serve as closure to the commercial phase of her career. Getting It Dunn was released in June 1992 and spawned four singles, none of which cracked the top 40 on the charts.

Mel Tillis’ mid-tempo honky-tonker “No Love Have I,” served as the first single, peaking at #67. Despite a generous helping of steel, and Dunn’s impeccable vocal, the track didn’t chart higher although it deserved to. The Dunn/Chris Waters/Tom Shapiro penned “As Long As You Belong To Me” charted next, peaking at #68. The mid-tempo rocker had a confident vocal from Dunn, although it just wasn’t commercial enough to pop in the current radio climate. “Golden Years,” the third and final single, did slightly better, peaking at #51. A co-write by Gretchen Peters and Sam Hogin, the track is wonderful despite the somewhat sappy string section heard throughout.

The album’s other notable track is “You Say You Will,” composed by Verlon Thompson and Beth Nielsen Chapman. Dunn’s version of the bluesy Dobro infused number appeared just two months before Trisha Yearwood’s take on her own Hearts in Armor album. Both versions are remarkably similar and equally as good, although Yearwood turned in a slightly more polished take, which helped the pensive tune reach #12 in early 1993. Warner Brothers didn’t release Dunn’s version as a single.

Dunn’s usual co-writers Waters and Shapiro helped her write a few other tunes for the project. “Let Go” is somewhat light, with an engaging drumbeat and muscular electric guitar heard throughout. Steel and synth ballad “I’ve Heard It All” is a revelation, with Dunn playing the part of a jilted lover done with excuses. “You Can Have Him,” marks similar territory and is the best of three, with an engaging beat, and polish that had it ripe to be a single.

Shapiro teamed up with Michael Garvin and Bucky Jones to write “I Laughed Until I Cried,” a fabulous break-up power ballad with one of Dunn’s most emotion filled vocals on the whole album. Craig Wiseman co-wrote “If Your Heart Can’t Do The Talking” with Lynn Langham. The steel and dobro infused mid-tempo number is excellent and wouldn’t have been out of place on one of Yearwood’s early albums. Wally Wilson and Mike Henderson composed “Half A Million Teardrops,” another mid-tempo number and one more example of the excellent recordings found on Getting It Dunn. Karen Brooks and Randy Sharp’s “A Simple I Love You” rounds out the album, and Dunn provides the project’s standout vocal. I love the steel on this, too, although the rest of the production is a touch heavy-handed.

Holly Dunn will always be a quandary to me. Her vocal and songwriting abilities are outstanding, but the production on her records was always lacking in that little bit of extra polish that would’ve sent her over the top to the leagues of say a Trisha Yearwood or a Kathy Mattea. But that isn’t to suggest her music was lacking in any particular way to be less than excellent, it just wasn’t always embraceable by country radio and their standards at the time. But, thankfully, commercial prospects aren’t everything, and Getting It Dunn is another glorious addition to her already wonderful discography.

Grade: A

Album Review: Holly Dunn – ‘Heart Full Of Love’

Holly’s 1990 follow up to The Blue Rose of Texas, which she produced with brother Chris Waters, was not quite as good as the latter, but is a fine effort nonetheless, with a lot of variety in tempo, style and subject matter, while Holly is in great voice.

Holly’s solo composition, ‘My Anniversary For Being A Fool’ is a lovely sad waltz as the protagonist remembers just how she threw away a true love.  Beautifully and delicately sung, with a prominent steel guitar behind her, it was the first single, but performed surprisingly,and undeservingly, poorly.  She regained traction with ‘You Really Had Me Going’, an up-tempo Dunn/Waters/Tom Shapiro song which became Holly’s first chart topper.  The rock n roll electric guitar solo from Brent Mason is unexpected, but doesn’t overwhelm the song.

The title track was the final single, but only just crept into the top 20.  A mid-tempo love song written by hitmaker Kostas, it is quite pleasant without being at all memorable.

‘The Light In The Window Went Out’ is an excellent song, in which the once-faithful protagonist gives up at last on her complacent ex who thinks he can pick up where he left off:

You thought I’d just keep hanging on

Love like a candle burns down to nothing

When it’s left untended too long

It was written by Holly and Chris with Ron Hellard.  The ironic ‘Temporary Loss Of Memory’ (penned by Holly and Chris with Lonnie Wilson) about a brief pause in a heartbreak is in a more contemporary vein, and isn’t bad.

The usual Waters/Dunn/Shapiro team exercised their social conscience with an emotional look at a homeless family for whom ‘No Place Is Home’.  Some may feel it tries a little too hard to make the hearer feel guilty, but it is clearly heartfelt and beautifully sung.

Waters and Shapiro teamed up with Charlie Black to write ‘My Old Love In New Mexico’, a wistful ballad about missing someone, with pretty Spanish guitar backing Holly.

There are many songs called ‘Home’ out there’; Karla Bonoff’s song of that name, which Holly recorded here, is one of the prettiest with a lovely melody and sweetly yearning vocal.  Just beautiful.

There is a sultry cover of the Marty Robbins classic ‘Don’t Worry’ with backing vocals from the Jordanaires recalling the original era.

The closing ‘Broken Heartland’ has a more contemporary vibe and lacks the emotion implied by the lyrics, but it is the only real misstep.

This was followed by a Greatest Hits album (Milestones), which brought a slowdown as her career suffered from the controversy over that album’s single ‘Maybe I Mean Yes’, which some thought inadvertently made light of the very serious date rape issue.

Cheap copies of Heart Full Of Love are easy to find and well worth acquiring.

Grade: A

Album Review: Holly Dunn – ‘The Blue Rose of Texas’

HollyDunnTheBlueRoseofTexasShortly after the dissolution of MTM Records, Holly Dunn landed a contract with Warner Bros. and her career enjoyed a resurgence from both an artistic and commercial standpoint. Her Warner Bros. debut, 1989’s The Blue Rose of Texas was produced by Holly and her brother and songwriting partner Chris Waters, and is by far the finest album of her career. Her first single for her new label was “Are You Ever Gonna Love Me” which she wrote with Waters and Tom Shapiro. The uptempo number, which finds her frustrated by an overly cautious new love interest, became her first Billboard #1 hit in May 1989. It’s one of the few concessions to radio in what is mostly a very traditional album. Another uptempo number “There Goes My Heart Again”, which features background vocals by Joe Diffie who co-wrote the tune with Lonnie Wilson and Wayne Perry, was the album’s second single, which peaked at #4.

Suprisingly, Warner Bros. opted not to release any further singles from the album, despite a warm reception from radio. One track, “No One Takes The Train Anymore”, a ballad beautifully written by Chris Waters and exquisitely performed by Holly, was included on her 1991 greatest hits package Milestones. It became a single in 1991 in the aftermath of the “Maybe I Mean Yes” debacle, but overshadowed by controversy of its predecessor, it became the first Holly Dunn single not to chart. Despite its lack of commercial success, it has always been one of my favorites. It finds Dunn pondering an impending breakup and lamenting the fact that the fast pace of modern life, which includes traveling by car or plane rather than sea or rail, leaves little opportunity for the party that is leaving to change his mind.

The album’s remaining songs are exceptionally strong, even though none of them were released as singles. Approximately half of them were written by one or more members of the Dunn/Waters/Shapiro team with the rest being supplied by some well known outside songwriters. It’s hard to pick favorites, but if pressed I would narrow the list down to three: the Dunn/Waters/Shapiro-written title track, which includes some excellent electric guitar work, the Don Schlitz and Paul Overstreet song “There’s No Heart So Strong”, and “Most of All, Why”, which contains some beautiful harmonizing by its writer Dolly Parton. Originally included on Dolly’s 1975 album The Seeker/We Used To, the regret-filled ballad asks the poignant questions:

How did we get here,
Where did it start,
When did we walk out of each other’s hearts?
Where did we lose it,
How did love die,
When, where and how, but most of all, why?

I like all of Dunn’s albums, but this is the one that I play all the way through most often. It’s one of the ten essential albums I’d want with me if I were stranded on a desert island and I’ve never quite understood why it didn’t sell better than it did. I don’t think it is still in print, but copies are still available on Amazon. Pick one up while you still can.

Grade: A+

Album Review – Holly Dunn – ‘Across The Rio Grande’

HollyDunnAcrosstheRioGrandeFor her third MTM release Across The Rio Grande, Holly Dunn took a co-producing credit for the first time, working with Tommy West (who produced her previous two releases) and Warren Peterson. Her career was also gaining traction by the time this was released in 1988 and she was now in the good graces of country radio.

Chick Rains and Bill Caswell penned the first single, “That’s What Your Love Does To Me.” The track is an excellent dobro infused uptempo number oozing with charm and personality from Dunn who’s voice is the perfect vehicle for the song. Radio and the fans agreed and the song made it to #5. Michael Johnson and the Forester Sisters also recorded versions of the song around the same time.

Slightly less successful was the second and final single, the #11 peaking “(It’s Always Gonna Be) Someday.” With country music in the thick of the new traditionalist movement by 1988, I would’ve thought this would’ve done much better, maybe even peaking higher than “That’s What Your Love Does To Me.” Could it have been the backup singers or Dunn retro style that was the issue? The song is surely excellent on its own merits even if it may’ve been a little too retro even for 1988.

Dunn and her “(It’s Always Gonna Be) Someday” co-writers Tom Shapiro and Chris Waters teamed up to write three other songs for the project. “City Limit” is a wonderful uptempo number dosed in fiddle with a rather engaging drumbeat. Dunn does a wonderful job vocally too, bringing out the song’s infectious charm. “Have A Heart” is the same sort of dobro infused track and Dunn does a wonderful job here as well. The best of the four is “If Nobody Knew My Name,” an album highlight thanks to gorgeous high lonesome harmonies from Cheryl and Sharon White. The production on the ballad, light guitars and fiddle, is impeccable, too.

“Lonesome Highway” found Dunn teaming up with Budd Lee to write a mid-tempo dobro centric number that was another of the stronger songs on the project and possibly my favorite thing on the whole album thanks in part to the production and Dunn’s vocal delivery. Dunn’s final co-write came courtesy of “On The Wings of an Angel,” which she wrote with Don Schlitz. Her crystal-clear voice is the perfect counterpart to the striking fiddle-laced production.

Billy Joel, three years before he gave Garth Brooks the okay to record “Shameless,” had a country connection with Dunn, who included his “Travelin’ Prayer” on this album. Originally released on Joel’s 1973 album Piano Man, “Travlin’ Prayer” has a chugging beat similar to Gram Parson’s “Luxury Liner.” Dunn veers little from Joel’s recording although she does convert it into a bluegrass song, which works well. Dunn’s vocal is incredible, too, as she’s able to keep up with the rapid fire pace of the song with ease.

Mandolin riffs are front and center on Shapiro and Waters’ “The Stronger The Tie.” The spiritual number is reminiscent of something Kathy Mattea would record and quite good even if it leans in a more contemporary vein. Spanish infused “Just Across The Rio Grande,” the album’s title track, is excellent although somewhat thematically out of place.

Across The Rio Grande is a wonderful album complete with many stellar moments from Dunn. The album isn’t as commercial as the albums her contemporaries were releasing at the time, but its still full of excellent songs with nice production and Dunn’s beautiful voice. Across The Rio Grande definitely has a late 80s sheen to it and thus it hasn’t aged as gracefully as it could’ve, but that doesn’t hinder the listener’s enjoyment at all. It’s also a shame the album is out of print as it’s a worthwhile addition to any record collection.

Grade: A 

Album Review: Holly Dunn – ‘Cornerstone’

cornerstoneHolly’s second album for MTM, released in 1987, built on the success of ‘Daddy’s Hands’ and a hit duet with Michael Martin Murphey (the charming ‘A Face In The Crowd’), and saw her cementing her status as a rising star for the fledgeling label.  Her high soprano voice is well suited to the songs selected.

The mid-tempo ‘Love Someone Like Me’, which Holly wrote with Radney Foster, was the lead single, and it only just missed the top spot on the country chart.  It had previously been recorded bluegrass style by the group New Grass Revival; Holly’s version is a little more on the pop-country side and the production has dated a bit, but it isn’t bad, thanks mainly to her vocal.

Better is ‘Only When I Love’, a post-breakup number in which the protagonist is mostly okay – until she falls for someone else.  It was one of a brace of songs written by Holly with her most frequent writing partners, Tom Shapiro and her brother Chris Waters, and reached #4.

Holly and Chris wrote the third and last single ‘Strangers Again, a rueful ballad about the pain of a breakup, in which they are left

not even friends.

Wistful fiddle backs up Holly’s emotional vocal, making this by far my favorite of the singles.

The Dunn/Waters/Shapiro team also wrote one of my favorite tracks, ‘Why Wyoming’, in which a cowboy’s jilted sweetheart bemoans the competition of the wide open spaces:

He’s the only cowboy that I’ve got

And you’ve got all you need

He could never love a woman

Like he loves being free

Tell me, why, Wyoming

Do you take him from me?

 

The beautiful ballad ‘Fewer Threads Than These’ (also recorded by Dan Seals) is another highlight, with Holly supported by a sympathetic harmony vocal.

Jim Croce’s ‘Lover’s Cross’ is a pretty sounding but angsty ballad about breaking away from a difficult relationship:

It seems that you wanted a martyr

Just a regular girl wouldn’t do

But I can’t hang upon no lover’s cross for you

The small town lifestyle is often idealised in country songs, and the big city seen as a poor alternative.  Holly offers a more jaundiced view with her vibrant reading of ‘Small Towns (Are Smaller For Girls)’.  This winsome depiction of the limitations of small town life for a restless teenager was written by Mark D Sanders, Alice Randall and Verlon Thompson.  The protagonist feels stifled and restricted by a life where:

Everybody that she knew knew every move she made

So she stood behind the backstop playing sweet 16

While the boys were stealing bases and pitching for their dreams

She knows that there’s gotta be more

Small towns are smaller for girls

She learned to dance around desire

And act like the nice girls act

So the boys found out about love with the girls across the tracks

While their souls burned holes through the heat of the southern night

She was reading about New York City with her daddy’s flashlight

Holly hedges her bets a little though, with her fond tribute to a ‘Little Frame House’, with the Whites singing harmony vocals.  The title track is an idealistic eulogy to the central importance of love, written by Dave Loggins and Don Schlitz.

The production on the up-tempo ‘Wrap Me Up’ (a Radney Foster co-write) sounds a bit tinny now, and this is the only track I really don’t like.

This is not easy to find at a reasonable price these days (partly because it was on a label which lasted only a few years), but it is a fine album which is well worth checking out if you can find it.

Grade: A

Album Review: Holly Dunn – ‘Holly Dunn’

HollyDunnIn the mid 1980s country music was in a state of transition as the Urban Cowboy sound began to fall out of favor with radio and fans. Artists like George Strait, Ricky Skaggs, Reba McEntire and The Judds had begun to pull the music back to its traditional roots but it wasn’t until Randy Travis’ big breakthrough in 1986 that the last nail was finally driven into the Urban Cowboy coffin. Holly Dunn’s eponymous debut album was released during this transition, and although it has its traditional moments, the album is mostly in the fading but not yet dead pop-country vein of the day.

Produced by Tommy West, the album contains ten songs, half of which were either written or co-written by Holly. Interestingly, none of five tracks in which Holly had a hand in writing were collaborations with her brother Chris Waters and Tom Shairo, although Tom and Chris did write one song, “That’s A Real Good Way To Get Yourself Loved”, with Michael Garvin. The album opens with “Two Too Many”, one of Holly’s compositions which was also her first single to crack the Top 40, landing at #39. It’s a lightweight but catchy number, and though not particularly noteworthy, it is actually one of the album’s better tracks. It was of course, completely overshadowed by the album’s second single, “Daddy’s Hands”, Dunn’s first bonafide hit and the song for which she is best remembered today.

Unfortunately, aside from “Daddy’s Hands” there is nothing particularly memorable about this album at all, despite some impressive names among the songwriting credits. “Burnin’ Wheel”, a Radney Foster co-write with Billy Aerts and Mickey Cates is a piece of lightweight fluff, and “My Heart Holds On” is certainly one of Hugh Prestwood’s poorer efforts. I like Gary Burr’s “Someone Carried You” a little better, but it isn’t an example of his best work, either.

Although the material certainly could have been stronger, the album’s main flaw is the production. Already falling out of favor in 1986, the pop-country arrangements that permeate every track except “Daddy’s Hands” sound terribly dated today. The album does have its bright spots; I rather like “Your Memory (Won’t Let Go Of Me)” and “The Sweetest Love I Never Knew”, but I wish they had been recorded a few years later after Holly had begun to co-produce her albums and had moved away from the Urban Cowboy sound.

None of this is to say that Holly Dunn is a bad album; it certainly has its enjoyable moments but it pales in comparison to most of her later work, beginning with her next album, 1987’s Cornerstone. I quite liked Holly Dunn back in 1986 but it hasn’t aged well. The album is long out of print and virtually impossible to find, but only “Daddy’s Hands” is essential listening and it is available elsewhere. The rest of the album is interesting only as a footnote in the Dunn discography and as a snapshot of her career in its earlier stages.

Grade: B