My Kind of Country

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

Tag Archives: Gerald Smith

Album Review: Bobby Marquez – ‘Bobby Marquez’

bobbymarquezTexan country singer Bobby Marquez’s debut album on independent label Grande Star is a good example of solid country music with a Texas feel, underpinned with generous helpings of fiddle and steel. Bobby has quite a light voice but a very listenable one, and he is a very promising songwriter, having contributed to half the tracks on this album, collaborating most often with the album producer Gerald Smith. Smith worked with other writers on a further three tracks. All the material is at least decent, with a few standouts.

It opens with one of the two wholly outside songs (the other being a cover of Jim Lauderdale’s swooping ‘Whisper’), the western swing ‘She’s Not From Texas’, a lyrically slight but cute Karen Staley/Anita Cochran song about falling for a girl the protagonist meets on a Beaumont dancefloor: the payoff being “she’s from heaven”. Karen Staley also helped Bobby to write ‘That’s Life’, which hit #1 on the regional Texas country chart. Bobby’s sincere delivery lends a warmth and authenticity to this charmingly nostalgic and ultimately touching song as it imparts some small-town fatherly philosophy (admittedly the latter is a little cliche’d, but it feels churlish to dwell on that when the feel of the song is so endearing). Staley (a fine singer in her own right) also sings harmony vocals on the album.

Smith wrote the plaintive lost love ballad ‘Just Look At Me’ with Curtis Wayne, and this is another highlight with some lovely yearning fiddle and some very retro backing vocals towards the end of the song:

I’m still your fool
One look at you
And just look at me
Still under your spell so helplessly

Steve Frame wrote the very best track with Bobby and Smith, the cautionary tale of the ‘Marlboro Man’, about a girl who hooks up with a nameless guy in a bar, set to a classic country tune:

She wrote her number on the back of his Marlboro pack
He gave her his too but so much for that
The number he gave her was as fake as his name
So she named him the Marlboro man

Naturally it doesn’t go well:

He had her heart in the palm of his hand
In the morning she awoke to the mirrors and smoke
And just the memory of the “Marlboro man”

So don’t strike a match with a cowboy
He’ll only put out your plans
And all you’ll have left are the ashes
Where there once was a Marlboro man

I love this one.

Written by Bobby, Smith and Donna DeSopo, ‘Neon Tan’ is an amusing Caribbean style song with a difference as Bobby forsakes the beach for the bar:

I won’t have to worry about those UV rays
Burning my skin and peeling for days and days
No sand in my pants
No oil on my skin
From the glow on my face you’ll know I’ve been
Working on my neon tan
If you’re wondering where I am
Holding an cold one in my hand

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Album Review: George Strait – ‘Easy Come, Easy Go’

easycomeIn 1992, George Strait teamed up with a new producer, ending an eight-year professional relationship with Jimmy Bowen, who had moved on to assume the presidency of rival label Capitol Nashville. The association with Tony Brown would prove to be even more enduring, lasting until the present day. A change in producers almost always results in a different musical direction. The first Brown-Strait collaboration, the soundtrack album to Pure Country, was certainly a departure for Strait, but due to its nature, a film soundtrack album isn’t always a good representation of an artist’s work. Our first glimpse at the direction in which Strait’s career would go can be seen with the 1993 album Easy Come, Easy Go.

At first glance, Easy Come, Easy Go seems to be a throwback to the Bowen years, perhaps as a reassurance to fans that Strait had no intention of continuing in the pop-country vein that had prevailed on the Pure Country soundtrack. The album opens with the Texas dance hall number, “Stay Out of My Arms”, the first of two songs contributed by Jim Lauderdale. The second Lauderdale-penned track, “I Wasn’t Fooling Around”, co-written with John Leventhal, continues in a similar vein. Also among the songwriting credits for the album are Curtis Wayne and Wayne Kemp, both of whom had contributed to Strait’s earlier projects. Between them, the duo contributed a total of three tracks to this album. “Lovebug” is a cover of the 1966 hit that Wayne and Kemp had written for George Jones. The pair teamed up with the legendary Faron Young to write the song “That’s Where My Baby Feels At Home”, and Wayne wrote “Just Look At Me” with Gerald Smith.

Despite these nods to Strait’s traditional roots, Easy Come, Easy Go does mark a shift in musical direction, seen most evidently on the title track, an Aaron Barker-Dean Dillon composition. “Easy Come, Easy Go”, the first single and the only one from this collection to go all the way to #1, marks the beginning of the modern George Strait. As the title suggests, this is a laid-back tune, not a hardcore honky-tonker. By 1993, the neotraditionalist movement was definitely winding down. This move to a more mainstream sound is likely a recognition of this, as well as an acknowledgment that most artists at the stage in their careers which Strait’s now was, usually began to experience declining commercial fortunes. Someone at MCA or in the Strait camp was obviously savvy enough to stay ahead of the curve and tweak their formula just enough to keep King George in the game.

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