My Kind of Country

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

Tag Archives: Michael Noble

Album Review: Lari White – ‘Don’t Fence Me In’

dont-fence-me-inThe singles from Wishes would prove to be the peak of Lari White’s popularity. The followup album, Don’t Fence Me In, which saw her stretch her wings artistically, was less successful in the marketplace.

The first single, ‘Ready, Willing And Able’, is quite a good mid-tempo song about being open to falling in love, which Lari delivers with commitment. It was written by Jess Leary and Jody Alan Sweet, and reached the top 20.

The only other single, the vivacious up-tempo ‘Wild At Heart’, failed to make the top 40, and combined with unspectacular sales of the album led to RCA dropping Lari. Lari wrote it with Al Anderson, and it’s pretty good and well performed.

‘Ain’t Gonna Worry About Love No More’ (written by Michael Noble) is in a similar contemporary up-tempo vein.

Lari wrote three songs with her husband Chuck Cannon. The best of these, ‘Something Blue’, is a bluesy torch song about a marriage in the course of disintegrating:

Our love is something old
Her kiss is something new
And now we live on borrowed time
Cause all that’s left is something blue

The upbeat poppy ‘Do It Again’ affirms the narrator’s past choices and mistakes. ‘Next To Love’ is fairly forgettable filler.

‘Ghost Of A Chance’, written by Lari with Chuck Jones, is a low key soulful ballad about fighting the unseen rival of her partner’s ex, with some nice fiddle. This is excellent, and my favourite track.

I also like another ballad, ’The Test’ (written by Don Schlitz and Billy Livsey), although it feels a little bit contrived. A married woman reviews the strength of her relationship on paper, listing all the fights and bad times, which makes her think it must be over – but set against that she has just one positive: she loves him.

‘I’ve Been Waiting For Your Love’ is a pretty AC-leaning ballad written by Stephony Smith and Terry Burns, with some nice fiddle. ‘Woman Of The World’ is an upbeat song about women as survivors.

Rather pretentiously, two tracks have short teasers earlier in the set list. The title track is the Cole Porter-penned standard. Right at the start of the album Lari sings the first chorus fairly straight, with harmony singers Trisha Yearwood and SShelby Lynne, but with old dusty vinyl sound effects. Then almost at the end of the album she launches into a speeded up rockabilly take on the song. It doesn’t really work for me.

Similarly, ‘Soul Searchin’ Blues’ starts out randomly inserted three quarters of the way through with one verse, and then continues right at the end. This is a straight blues tune.

The record is not particularly country, and certainly not traditional, but Lari White was a very talented singer and songwriter, and if you like a slightly poppy/jazzy/AC edge to your country, this album is well worth while.

Although Lari would enjoy one more top 20 hit with ‘Stepping Stone’ on a new label, Lyric Street , and then a top 20 duet with Travis Tritt, that was the end of her mainsteam success.

Album Review: Steve Wariner – ‘Greatest Hits’ (MCA)

Steve’s move to MCA in 1985 helped him to become a mainstay of country radio, just as the same move worked for Reba McEntire and, a few years later, Vince Gill. None of his first three albums for the label is readily available on CD or digitally, but a good overview can be gained from his second Greatest Hits compilation, released in 1987. The sound was a little less poppy than his RCA work, but still definitely contemporary rather than traditional. Steve’s smooth vocals sound great even on the lesser material.

Steve’s MCA career kicked off with a bang, with ‘What I Didn’t Do’ reaching #3 on the Billboard country chart in 1985. Written by Wood Newton and Michael Noble, this remorseful look back at mistakes made by a workaholic husband who failed to pay attention to his wife (left “planning her nights by the TV Guide”) is a fine song, sensitively interpreted.

The up-tempo pop-country ‘Heart Trouble’ (written by Dave Gibson and Kent Robbins) also reached the top 10, but is not very memorable. The last single from One Good Night Deserves Another, Steve’s first MCA album, was a vast improvement, and was to become his second #1. A forlorn ballad about unrequited love, ‘Some Fools Never Learn’ was written by John Scott Sherrill, and Steve sings it beautifully, as the central character faces his loved one’s

Heart like a stone
And a wandering eye

He admits to himself, while he finds a second-best alternative relationship with a girl in the same boat,

It’s no good to pretend it won’t happen again
‘Cause it’ll happen again
Some fools never learn
Play with the fire and you’re gonna get burned
It’s only love when you’re loved in return

This is my favorite of the songs included here.

The lead single from Steve’s second MCA album (and his second album of 1985) was ‘You Can Dream Of Me’, which he wrote with John Hall. It was another #1 hit for him. A mellow sounding cheating song with an attractive melody, the soaring, pure vocal belies a less romantic message, about a married man telling his ex-lover he can’t offer her a full-time or “real” love and she will have to settle for the odd phone call, flowers and dreams.

Next up was that album’s title track, the piano-led mid-tempo ‘Life’s Highway’ written by Richard Leigh and Roger Murrah (and covered by Catherine Britt on her RCA album a few years ago). It was Steve’s fourth #1 hit, and had the most traditionally country instrumentation of his early singles. Carl Jackson and Mac McAnally sing backing vocals, and the track features Jerry Douglas on dobro and Mark O’Connor on mandolin.

The last single was the ballad ‘Starting Over Again’ (written by Don Goodman and John Wesley Ryles), with gospelly piano and soothingly sweet vocals about a constant loser who never loses faith that someday things will work out. It peaked at #4.

Life’s Highway was actually a solid modern country album (by far the best of his early work) which displayed discriminating song selection, including early versions of ‘Back Up Grinnin’ Again’ (soon afterwards cut by Kathy Mattea) and Rodney Crowell’s 1988 #1 hit ‘She’s Crazy For Leaving’. Steve’s somgwriting was also developing, and he wrote five of the ten tracks. It really deserves to be re-issued.

The third album, 1987’s It’s A Crazy World, was a bit of a step backward artistically, although each of the singles reached #1. The first of these was the pleasant but fairly forgettable New York-set ‘Small Town Girl’ (written by John Barlow Jarvis and Don Cook), singing the praises of domestic bliss with the protagonist’s wife, the small town girl of the title. Steve sounds very good on the vivaciously beaty ‘Lynda’, written by Bill LaBounty and Pat McLaughlin, and makes a throwaway ditty worth listening to.

The last single, ‘The Weekend’ was the first Steve Wariner record I ever heard. Written by Bill LaBounty again and Beckie Foster. The protagonist laments having fallen in love with his weekend fling, who is not interested in reciprocating:

You had some fun for the weekend
But I’ll be in love for the rest of my life

..and if I can’t have you tonight
At least I had the weekend

Some will find this ballad a little wimpy, but as a teenager who was new to country music, I loved it and thought it extremely romantic, and I still can’t help liking it and Steve’s sweet interpretation.

The nine solo hits (three from each of Steve’s first three albums on MCA) are rounded out with ‘That’s How You Know When Love’s Right’, a duet with Nicolette Larson which was a top 10 hit in 1986. Nicolette was a country-rock singer with a husky alto voice who had some pop success in the 70s. Her country connections included singing backup on Emmylou Harris’s version of the classic ‘Hello Stranger’, and in the mid 80s she made a concerted effort at a country career of her own. She released two pretty good albums, but this was to be her only hit single – making this the first time Steve’s talents lifted another artist to their greatest commercial success. The production sounds a bit dated now, but not overbearingly so, and the vocals work well enough to overcome this. The two singers’ voices work well together on a pleasantly tuneful if rather generic pop-leaning ballad about falling in love, swapping solo lines in the chorus, harmonising on the chorus, and both sound earnestly sincere. The song was written by Wendy Waldman and Craig Bickhardt. Oddly, the selection omitted another hit from this period, Steve’s duet with Glen Campbell on ‘The Hand That Rocks The Cradle’, a tribute to mothers everywhere.

Grade: B

Used copies of the CD are available very cheaply, and the individual tracks can be downloaded.

Album Review: Brooks & Dunn – ‘Waitin’ On Sundown’

Waitin On SundownBrooks and Dunn’s third album was released in September 1994. Produced like the first two by Don Cook and Scott Hendricks. In theory, Kix and Ronnie had equal billing, each singing lead on five songs, but Ronnie’s lead vocals were showcased on four of the five singles. This may have been the right decision commercially, as all five reached the top ten, with three of them topping the chart.

Leadoff single, ‘She’s Not the Cheatin’ Kind’, which was both written and sung by Ronnie, deservedly went to #1, a forceful ballad about a woman who’s “been cheated one too many times” and is out to see what else might be out here. On the album it leads into the similarly themed story song ‘Silver And Gold’, the only outside song on the set. It was written by Michael Lunn and Michael Noble and is sung by Kix, offering another picture of an unhappily married woman who leaves nothing behind but her jewelry, symbols which have “lost their shine”. It’s just as good a song as ‘She’s Not The Cheatin’ Kind’, but Kix’s vocal is not as good as Ronnie’s.

‘I’ll Never Forgive My Heart’ is my personal favorite of the singles from this album, but it was the least successful, reaching only #6 on Billboard. It is one of the most traditional country sounding of their recordings, with some lovely steel and fiddle, an excellent, emotion-filled vocal from Ronnie, and a well-written slightly melancholy lyric about a breaking heart courtesy of Ronnie, his wife Janine, and Dean Dillon, with many of the hallmarks of a Dillon song in the structure and phrasing.

‘Little Miss Honky Tonk’, the album’s opening track, restored the duo to the top of the chart, and is a lively Ronnie Dunn rocker with rather generic lyrics, which was probably more what radio expected from the duo. ‘You’re Gonna Miss Me When I’m Gone’ followed it to #1, and has the distinction of being the only one of the duo’s #1 singles to boast a lead vocal from Kix. Written by Kix, Ronnie, and Don Cook, it is a relatively subdued song about a marriage about to break up, with a defeated feeling, which actually suits Kix’s pained vocals. While he is not as exceptional a singer as his partner, he isn’t bad on the right material, like this song, where Kix sounds as though he’s not really fooling himself by the words of the title.

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