George’s second MCA album was released in 1992, and showed he was still capable of competing with the younger artists musically, although he was getting squeezed out of radio playlists. Producer Emory Gordy Jr gives the up tempo tracks a muscular rhythmic backing adapted to contemporary radio trends, but the ballads get a more subtle treatment. Gordy’s wife Patty Loveless sings backing vocals, together with Vince Gill.
A select group of younger stars provided backing vocals on the age-defying ‘I Don’t Need Your Rockin’ Chair’, with Vince and Patty joined by Garth Brooks, Joe Diffie, Pam Tillis, T. Graham Brown, Mark Chesnutt, Travis Tritt, Alan Jackson, and Clint Black. George and friends were rewarded with the CMA Award for Vocal Event of the Year, in 1993, although the single was only moderately successful, peaking at #34. Written by Billy Yates, Kerry Kurt Phillips and Frank Dycus, the song has never been a favorite of mine despite its accolades. Lyrically it is dangerously close to a novelty song, with slightly overbearing production.
I prefer the cheerfully rebellious ‘Wrong’s What I Do Best’ (written by Dickey Lee, Mike Campbell and Freddy Weller), the vibrant second single, although it flopped at radio, failing to rise above the 60s. It may have been a mistake not to release the closing track, ‘Finally Friday’ (previously recorded by Earl Thomas Conley). George roars and growls his way through this insistently rhythmic ode to the end of the working week in what is in many ways a more successful defiance of age than ‘I Don’t Need Your Rockin’ Chair’.
A ballad was picked for the final (and sadly noncharting) single, but not one of George’s heartbreak specials. The title track is also an older man’s song but a more dignified one, expressing gratitude for a love breaking through the barriers the protagonist has erected over the years, for which Yates and Dycus were also responsible (together with Bruce Bouton). It is a nice but not outstanding song, and there is better fare of the album, including the album’s other love song, veteran Wayne Kemp’s beautiful ‘Don’t Send Me No Angels’.
In the ironic ‘Drive Me To Drink’, George tells his cheating wife to drop him off at the bar on her way to meet her lover:
You’ll be in his arms again
And I’ll be off the road
The highway will be safer
And they’ll have you to thank
If you’re gonna drive me crazy, baby
Drive me to drink
The storyline may be an implausible spin on the phrase which inspired it, but George sells it vocally, and this is probably my favorite of the up-tempo numbers.
One of the standout tracks is ‘What Am I Doing There’, written by Buddy Brock and Zack Turner, a classic sounding slow sad song as fantasies about a lost love imperil a new relationship, with lonesome fiddle backing up George’s sorrowful and guilt-ridden emoting which recalls his very best:
I no longer know what’s real anymore
In the back of my mind I have opened the door
That leads to the past & the love we once shared
How could I explain to the one lying here,
She’s loving me now
What am I doing there?
It is just beaten to the title of my personal favorite on this album by a perfectly structured Gene and Paul Nelson song, ‘There’s The Door’, also recorded by Stacy Dean Campbell, where a man faces a stark choice. Having tried his wife’s patience by staggering home past midnight once too often, he is faced with her ultimatum:
She took a sip of coffee and softly said to me,
“There’s the mantel where we keep our wedding picture
There’s the bedroom where we made both love and war
There’s the ring keeps on slipping off your finger
There’s no reason we should go on anymore
There’s the door”
So I’m back here on this barstool my whole world blown to hell
Behind the bottle there’s a mirror where a fool can see himself
If I were the man I should be and not the one I am
I would go back there this minute and beg for one more chance
There’s the jukebox where I wasted all those quarters
There’s a lady trying to get me out on the floor
And there’s a chance the one I love would still forgive me
It’s a step that I just never took before
There’s the door
I particularly like the fact that we don’t get told whether he makes the choice, and whether that door remains closed or not. My feeling is that he doesn’t, but there is that glimmer of hope.
Also fantastic is the regretful ‘You Must Have Walked Across My Mind Again’, written by Kemp with Warren Robb, which sounds like classic George, as the protagonist wakes up in prison after a drunken brawl which he blames on memories of his ex. George also covers the Haggard classic ‘The Bottle Let Me Down’.
Years of abusing his body with alcohol notwithstanding, George entered his sixties in pretty good shape vocally, and although perhaps his voice was starting to show slight signs of deterioration, his interpretative ability was still second to none. He may have been starting to struggle to compete with younger stars at radio, but this album showed he was still capable of making great music. And although I started out by saying I didn’t much like ‘I Don’t Need Your Rocking Chair’, its chart success helped make this Goegre’s first gold-seller since Wine Colored Roses.
It’s still easy to find, and worth adding to your George Jones collection.