Now 61, George Strait may be giving up touring next year, but he still seems to be keen on continuing his recording career. As with everything he has done in the past decade, he has co-produced his latest album with Tony Brown, and there are no indications he is running out of steam. The pair know just what works for Strait and his fans, and while there are no real surprises here, it’s an accomplished record which will be well received by the fans.
Lead single ‘Give It All We Got Tonight’ is a rather dull and generic song with irritatingly tinny echoes in the production, written by Mark Bright, Phil O’Donnell and Tim James. It sounds exactly like an attempt at getting some radio attention. Luckily it’s done the job, giving George his 60th chart-topper; better still, it’s the only dud.
The outstanding song is ‘Blue Melodies’, a sad slow song written by Keith Gattis and one Wyatt Earp (yes, really). Loaded with steel guitar and fiddle, this is classic country heartbreak as a songwriter struggles to find the right words to convey his feelings. His sweetheart loves the sad songs, but he admits this will end up “a sad song, that’s too sad to sing” if she isn’t persuaded to return. His years of experience stand him in good stead here, as the phrasing is impeccable. This is absolutely lovely.
Gattis also contributed another pair of songs to the album. The engaging story song ‘I Got A Car’, written with Tom Douglas, narrates a romance from roadside pickup to starting a family together, and is quite charming, although the production gets a little busy towards the end. It would probably work as a single. ‘Sittin’ On The Fence’, a co-write with Roger Creager, is another good song. It is about a man undecided whether to make the move to save a relationship (even though he knows he’d be a “damn fool to let her go”).
Also very good, ‘You Don’t Know What You’re Missing’, written by Chris Stapleton and Al Anderson, reports a bar room conversation comparing one man’s complaints about mundane problems in his family life, to his drinking companion’s real heartaches. ‘I Thought I Heard My Heart Sing’ (by Bill Kenner and L Russell Brown) is an enjoyably bouncy number about the euphoria of falling in love which has a delightfully retro feel.
In the warmhearted ‘When Love Comes Around Again’, penned by Monty Holmes, Donny Kees and Jeff Silvey, Strait offers an older man’s hard-won experience of recovering from a broken heart to find new love, to counsel a younger friend going through it all for the first time. This might be another good single. The title track (written by Casey Beathard and Pat McLaughlin) is a little bland lyrically, but the laidback vocal and generous emotion work well.
‘I Just Can’t Go On Dying Like This’ is a rare solo composition by Strait, and is an impressive sad country ballad. It is an older song which was one of the artist’s first, pre-fame, singles back in 1976, and was also recorded as a bonus on the Strait Out Of The Box box set. The latest version is significantly different from its predecessors, completely reinventing it by slowed down from a honky tonker into a mature ballad which is very fine indeed. He was joined by son Bubba to write ‘That’s What Breaking Hearts Do’, which is a decent song but the vocal feels a bit perfunctory. Father and son teamed up with old friend Dean Dillon for two further songs. ‘The Night Is Young’, a cheerfully delivered invitation to a wife for a long night out (and in), and is quite good, featuring horns.
The more serious ‘I Believe’ is a sensitive, strings-swathed, response to the tragic events at Newtown, Connecticut, last year, capturing the sadness felt across the world at such a horrific incident.
The album closes with the valedictory ‘When The Credits Roll’, written by Randy Montana, Steve Bogard and Kyle Jacobs. I don’t know how much longer Strait plans to continue recording, but this feels intended to evoke images of his life and career as the latter comes to an end. However, it doesn’t quite convince, because George has never really come across as the rebel presented in the lyrics, and the production is a bit cluttered.
This isn’t Strait’s best ever record – that would be quite an achievement – but it’s solid fare with plenty of good songs and one outstanding one. It’s the best mainstream record I’ve heard in a while.