My Kind of Country

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

Tag Archives: Greg Fowler

Album Review: Alabama – ‘Cheap Seats’

cheap seatsI guess the end of the road comes for everybody and in this case the end of the road is actually the end of the #1 singles for Alabama, with “Reckless” being the band’s final Billboard #1 and “Cheap Seats” being the first single in fourteen years to miss the top ten.

Cheap Seats was produced by Josh Leo and Larry Michael Lee, and was released in October 1993, with three singles released from the album (“Reckless”, “T.L.C. A.S.A.P.” and “The Cheap Seats”). The album was the second consecutive album to miss the top ten on Billboard’s Country Albums chart, reaching only #16, their worst showing to-date on RCA. Although the next four albums would chart better, even reaching the top ten in two instances, it was becoming clear that Alabama was no longer a dominant force in country music.

Despite this, I really like this album, as some of the songs personally resonate with me.

The album opens with the Rick Bowles-Josh Leo composition “Still Goin’ Strong”, a moderate rocker, that features Jim Horn on tenor sax.

Next up is “T.L.C.A.S.A.P” a song penned by the Baker-Myers duo. This song only reached #7 but likely would have been a number one a few years earlier.

Well, we work real hard six days a week,
Honey, this is somethin’ we both need…

A little TLC ASAP…
A little R & R for you and me…
A guaranteed rat race remedie,
A little TLC ASAP.

A little TLC ASAP…
A little R & R for you and me…
A guaranteed rat race remedie,
I need TLC ASAP.

TLC ASAP…
R & R for you and me…

TLC ASAP…
R & R for you and me…

“Katy Brought My Guitar Back Today” is a tender slow ballad that had little potential for use as a single. Ditto for the Mark Alan Springer ballad “On This Side of The Moon”.

The title track “The Cheap Seats” is the outstanding track on the album, even though it only reached #13. The song, a perfectly crafted uptempo ‘slice of life’ by Randy Sharp and Marcus Hummon tells it like it is in many small towns. Believe me, I’ve lived this story many times growing up:

This town ain’t big, this town ain’t small
It’s a little of both they say
Our ball club may be minor league, but at least it’s triple A
We sit below the Marlboro man, above the right field wall
We do the wave all by ourself
Hey ump, a blind man could’ve made that call
We like beer flat as can be
We like our dogs with mustard and relish
We got a great pitcher what’s his name
Well we can’t even spell it
We don’t worry about the pennant much
We just like to see the boys hit it deep
There’s nothing like the view from the cheap seats

“Cheap Seats” was the only song from this album that was made into a video.

“Reckless”, written by Jeff Stevens and Michael Clark, was actually the first single released from this album and would prove to be Alabama’s last #1 single. The song, a mid-tempo rocker, is a typical ode to restless youth:

Let’s take my Thunderbird and leave tonight,
I’ll keep the pedal to the floor till we see the morning light.
They can’t live our lives for us,
If we let them we’ll lose our love.
And love dies hard in this Texas sun,
I’d rather be reckless and on the run

Let’s roll the windows down, turn the radio up
Let the wind blow through our hair
There’s a moon tonight and a road outside, baby
We’re gettin out of here.
I could care less where it leads us
Love is reckless, let’s get reckless tonight

Teddy Gentry, Ronnie Rogers and Greg Fowler collaborated on “That Feeling”, a lovely ballad that would have made a good single. I consider this song to be the unearthed gem of this album:

I’ve made some decisions
Never not the best
Against my better judgment
I must confess
I went astray so many ways
So my dreams fall apart
And came a day I’m glad to say
I followed my heart

That feeling the one I’m feeling now
Oh that feeling that turned me all around
That feeling oh what love can do
That feeling that never let’s me down
Oh that feeling that always come around
I never need another
It’s gonna last my whole life through
That feeling I’m feeling for you

Jeff Cook had a hand in writing “This Love’s On Me” a kind of generic up-tempo rocker that, this time featuring Jim Nelson on tenor sax. Jeff Cook handles the lead vocals on this track.

“Clear Water Blues” , another Gentry- Rogers-Fowler collaboration, was not on the cassette version of this album, but was on the CD version as a ‘bonus’ track. The song is a gentle jazzy ballad which features harmonica, banjo, organ and trumpet as integral parts of the arrangement. Teddy Gentry takes the lead vocals on this song and does an excellent job of it.

“A Better Word For Love” is another track not found on the original cassette release, but available as a CD ‘bonus track’. The song was written by Andy Anderson (of NRBQ) and Gary Nicholson and is yet another gentle ballad. NRBQ would record the song on one of their albums.

The final song, Becky Hobbs’ excellent “Angels Among Us” has an interesting history. Unlike the rest of the album, this track was produced by Teddy Gentry. Not only did Becky Hobbs include the song on her excellent 1994 album The Boots I Came to Town In, but the Alabama album track received considerable attention at county radio and twice entered the country charts from unsolicited airplay: reaching # 54 in 1994, and later clocking in at # 28 in January 1995. The sonmg charted again for Alabama at #22 on Billboard’s Bubbling Under Hot 100 chart in January 1996. Maybe Alabama should have issued the song as an official single! The choir on this song was provided by the Sanctuary Choir & Young Musicians Choir of First Baptist Church, Fort Payne, Alabama.

I was walkin’home from school
On a cold winter day,
Took a short cut through the woods
And I lost my way.
It was gettin’ late, and I was scared and alone.
Then a kind old man took my hand, and led me home.
Mama couldn’t see him,
But he was standing there,
And I knew in my heart
He was the answer to my prayer.

[Chorus]
Oh, I believe there are Angels Among Us,
Sent down to us from somewhere up above.
They come to you and me in our darkest hours
To show us how to live
To teach us how to give
To guide us with a light of love.

This wasn’t Alabama’s best album but a strong album worth a B+. I liked all three released singles, and while “Angels Among Us” wasn’t released as a single, I have several friends who consider the song to be their favorite Alabama song. Since the album tracks were all at least passable, and most very good, no one should be disappointed with this album.

Album Review: Alabama – ‘Pass It On Down’

pass it on downAs Alabama celebrated a decade of almost uninterrupted number one hits, the world of country music was changing. The New Traditionalists had prompted a retreat from more pop-tinged sounds, while the Garth Brooks phenomenon was about to explode. Southern Star had seen them holding their own, but its 1990 follow-up had a lot riding on its shoulders. Produced by the band with Josh Leo and Larry Michael Lee, there were five successful singles, but signs of a slight slowdown in their reception by country radio.

The apocalyptic green vision of the title track was only the band’s second single in 10 years not to reach the top of the charts, peaking at a still more than respectable #3. Written by Randy Owen and Teddy Gentry with Will Robinson and Ronnie Rogers, and given a fairly beefy country-rock production, it shares the earnestness of John Anderson’s songs on the same theme.

The regretful lost love ‘Jukebox In My Mind’ took them back to the top. Opening with the sound of a, it is one of my favourite Alabama singles, with a prominent fiddle in the arrangement.

The ballad ‘Forever’s As Far As I’ll Go, written by Mike Reid, was a top 15 Billboard Adult Contemporary hit as well as a country #1. The last chart topper, ‘Down Home’, an ode to rural hometowns (“where they know you by name and treat you like family”), written by Rick Bowles and Josh Leo, is quite agreeable.

The final single from the record was ‘Here WeAre’, written by Beth Nielsen Chapman and Vince Gill, and stylistically more characteristic of some of Chapman’s work than Gill’s. It is quite catchy and radio-friendly, but lacks emotional depth. While the performance of ‘Pass It On Down’ might have been passed off as a blip, ‘Here We Are’s #2 peak was a more significant indicator marking the group’s beginning to falter with radio. Although they continued to score hits, they would only get two more #1s.

Randy Owen’s ‘Goodbye (Kelly’s Song)’ was obviously inspired by his wife and childhood sweetheart, Kelly, and the sadness of constant separation while the band was on tour. While very personal and genuinely moving it goes on rather too long. (Note: I am pleased to report that 25 years on the couple is still happily married.)

The story song ‘Fire On Fire’, written by Teddy Gentry with Ronnie Rogers and Greg Fowler, has a potentially interesting lyric about a woman hooking up with a stranger in town, but the melody, arrangement and Cook’s weedy lead vocal are all more AC/rock ballad than country, and not particularly suited to the song’s tale of intense but temporary passion. The country-rock ‘Until It Happens To You’, written by Cook, Gentry, Rogers and Fowler, and sung by Gentry, is better.

The mid-tempo celebration of partying in the open air, ‘Moonlight Lounge’ (another Rogers tune), is okay in itself, but the now overdone theme makes it less welcome. The Caribbean-tinged beach tune ‘Gulf Of Mexico’ with its steel drums and la-la-las isn’t quite to my taste, but is inoffensive with a pleasant melody.

This was one of three tracks omitted from the original cassette release and only available on CD (then the more expensive version). Of the others, ‘Starting Tonight’ is a romantic ballad which is okay. A more interesting choice was the bluesy ‘I Ain’t Got No Business Doin’ Business Today’, a cover of a top 10 hit for Razzy Bailey in 1979 (and previously recorded by the great George Jones on his 1978 album Bartender’s Blues).

This was fairly standard fare from Alabama, with plenty to appeal to fans of the band.

Grade: B

Album Review: Alabama – ‘Roll On’

51HP6DKBDSLAlabama released their eighth album in 1984. Produced as per usual by Harold Shedd, Roll On was certified quintuple platinum and charted four number one hits.

The title track, an uptempo trucker’s anthem written by Dave Loggins, was issued as the lead single. Instead of focuses on the plight of the trucker, “Roll On (Eighteen Wheeler)” centers on the man’s wife and her immense worry when she fears he may be dead. Randy Owen gives an inspired performance on what’s become one of the band’s most iconic singles.

The heavily AC-leaning “When We Make Love” came next. Owen led with his tender vocal, which added sincerity to the ballad. Shedd also give the number plenty of breathing room, which makes up for the country signifiers it was lacking. To this day it remains one of my favorite Alabama ballads.

They followed with another iconic single, “If You’re Gonna Play In Texas (You Gotta Have A Fiddle In The Band).” The Dan Mitchell and Murry Kellum penned number has grown thin on me from over exposure, but it’s a great song and a bright spot from the barren landscape of 1980s commercial country music.

I also quite enjoy the album’s finale single, “(There’s A) Fire In The Night.” It’s a tale of lust, with the man far from the watchful eyes of his wife. Until writing this review I never knew RCA issued two videos for the song. The first featured a scandalous interpretation of the lyric, partial nudity, and bizarre tattoos. That was pulled in favor of the famous one featuring the band around the campfire. I like elements of the first one best, as it actually fit Bob Corbin’s campy lyric.

Robert Byrne and Alan Schulman co-wrote “The End of the Lyin,’” while Maurice R. Hirsch wrote “Country Side of Life.” The former is an Eagles influenced mid-tempo number while the former has an unappealing R&B influence.

Teddy Gentry takes a rare lead vocal on “The Boy,” a father-son relationship ballad he co-wrote with Owen and Greg Fowler. The track is written from the father’s prospective as he watches his son grow up. Gentry’s smooth vocal lessens the country elements of the song while the lyric suffocates the track with schmaltz. It’s not one of the album’s better numbers.

Owen also had writing credits on three other tracks, including the spectacular “I’m Not That Way Anymore.” A co-write with Gentry, Fowler and Mark Herndon, the song was recorded live at the now defunct Reunion Arena in Dallas. A giant missed opportunity; it should’ve been a single and another of their massive hits. I hadn’t heard it until now, but it might be one of my favorite things they’ve ever done.

The remaining two songs were credited solely to Owen. “Carolina Mountain Dewe” is a listless ballad about a lonely couple kept apart geographically. Thankfully he rebounds with “Food On The Table,” a homespun tribute to the loving home from which was raised.

Roll On is a quite enjoyable and consistently strong Alabama record. Shedd’s production doesn’t lean particularly country but it works more often then it fails. Roll On finds Alabama hitting their artistic stride.

Grade: A-

Album Review: Shenandoah – ‘Extra Mile’

extramile1990’s Extra Mile was the first Shenandoah album I ever bought. The band was on a hot streak after racking up three #1 hits the year before, followed by the #6 hit “See If I Care.” Extra Mile’s lead single, the Robert Ellis Orall and Curtis Wright two-stepper “Next To You, Next To Me” quickly became the band’s fourth chart topper. It is my favorite Shenandoah recording and it sounds as good as today as it did when it was first released nearly a quarter century ago.

Unfortunately, the rest of the album , for the most part,hasn’t aged as well. Every recording is a product of the era in which it was made and that is part of the charm of listening to vintage music. I don’t mind soaring string sections or Nashville Sound choruses, and even some of the heavy-handed Urban Cowboy records of the early 1980s. I have, however, developed a profound dislike of keyboard synthesizers, which were considered very cutting edge in 1990 but sound horribly dated today. In listening to Extra Mile for the first time in a very long time, I found the synthesizers to be a distraction that mar an otherwise very solid album. It’s first apparent on Hugh Prestwood’s “Ghost In This House” — a beautiful ballad that peaked at #5 when it was released as the album’s second single — and continues to mar ballads such as “When You Were Mine” and it is particularly intrusive on “The Moon Over Georgia”, an otherwise excellent record that reached #9. The aforementioned “When You Were Mine” stalled #38, becoming the album’s only single not to reach the Top 10. “I Got You”, written by Robert Byrne, Teddy Gentry and Greg Fowler, was also released as a single between “Ghost In This House” and “Moon Over Georgia.” It’s another one of my favorite Shenandoah recordings. It peaked at #7.

Production missteps aside, the material on Extra Mile is quite good, and Marty Raybon’s vocals are stellar throughout. The songwriting credits alone are impressive with names such as Lionel Cartwright (“She’s A Natural”), Larry Cordle and Larry Shell (“Puttin’ New Roots Down”) and Rory Michael Burke and Mike Reid (“She Makes The Coming Home Worth The Being Gone”) all appearing alongside the aforementioned Robert Ellis Orrall, Curtis Wright and Hugh Prestwood. The album closes with the sentimental “Daddy’s Little Man” in which a father fears that he cannot live up to the hero image that his young son has of him.

Like The Road Not Taken, Extra Mile earned gold certification. Unfortunately, shortly after the album’s release the band was sued by several other bands that claimed to have rights to the Shenandoah name. Although Shenandoah prevailed in court, it was forced to file for Chapter 11 bankruptcy protection and one of the consequences of that action was the termination of the band’s contract with Columbia Records. Although the band later resurfaced on RCA, the legal turmoils did affect their commercial momentum. Shenandoah’s albums are not always easy to come by nowadays, but as one of their better selling efforts, Extra Mile is the exception. Cheap used copies are available as well as a reasonably priced import version which contains The Road Not Taken and Extra Mile on the same disc.

Grade: B+