My Kind of Country

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

Tag Archives: Ryan Wariner

Retro Album Review: Steve Wariner – ‘Guitar Laboratory’

61b4xZQKEoLChet Atkins had many disciples, not the least of whom was Steve Wariner. Steve was a major country star and chart presence from 1980-1994 with scattered success both before and after his peak years.

Steve grew up listening to his father’s record collection which included some Merle Travis and everything Chet Atkins recorded. After tours with Dottie West and Bob Luman, Steve signed with RCA as a recording artist and became a friend and student of Chet Atkins. Steve has won many awards and honors but the award of which he is most proud was being awarded the Certified Guitar Player designation by Chet (the only others were Tommy Emmanuel, Jerry Reed and John Knowles).

Guitar Laboratory is a sequel of sorts to his previous album, My Tribute To Chet Atkins, released in 2009 . This album is no stubborn copy or pastiche of Chet’s style but represents a tribute to the spirit of Chet Atkins, covering a wide range of styles and tempos. While I wouldn’t describe this album as a country album, it does contain some country (“Sugarfoot Rag”) as well as some jazz (“A Groove”), some rock (“Telekinesis”), some blues (“Crafty”), some folk/bluegrass (“Up A Red Hill”) and even some Hawai’ian (Waikiki ’79) On some songs such as “Crafty” and “Kentuckiana” Steve sounds very much like Chet; however , on other tracks, not quite so much.

Steve enlists several guest pickers on the album who acquit themselves admirably. Steve is joined on “Sugarfoot Rag” by legendary guitarist Leon Rhodes, a long-time Opry Band member and former member of Ernest Tubb’s Texas Troubadours. Paul Yandell, a long-time associate and musical colleague of Chet’s, joins in on “Pals” and Steve’s son Ryan Wariner shows his musical chops on the rocking “Sting Ray”. The review copy of the album did not include any notes so I am not sure of the identity of any background musicians such as the accordionist and violinist on “I Will Never Forget You (Je Ne T’oulbieri Jamais)” or the trumpeter on “Phyllis and Ramona”, but suffice it to say they are all excellent.

All songs on this album, except “Sugarfoot Rag” were written by Steve Wariner (“Sugarfoot Rag” of course was written by guitar legend Hank Garland). There’s something for everyone on this all instrumental collection, and while I generally prefer vocal albums, I’ve listened to this album five times through thus far, although I’ve played my two favorite tunes “Sugarfoot Rag” and “Up a Red Hill” far more often than that.

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Album Review: Steve Wariner – ‘Faith In You’

Steve’s third and last Capitol album was released in 2000. The overall style leans towards the contemporary end of country, with Steve’s smooth vocals and guitar skills to the fore. He wrote or co-wrote all the songs, played various guitars, and also produced the record. The overall style leans towards the contemporary end of country, and it is mostly successful.

The lead single was a duet with Clint Black on ‘Been There’, a likeable but rather throwaway number with a brass section. Clint also produced this track, co-wrote the song, and contributed a generous helping of his trademark harmonica. The song was the album’s only big hit, peaking at #5, and had already appeared on Clint’s 1999 D’lectrified, an all-acoustic return to form for the latter.

The title track was a sweet declaration of true love written with veteran Bill Anderson, with a tasteful string arrangement and tender vocal. It performed surprisingly poorly as the second single, barely cracking the top 30, but is a low-key gem. The last single saw Steve reunited with Garth Brooks on the jazzy ‘Katie Wants A Fast One’, which Steve wrote with Rick Carnes. It too failed to reach the top 20 despite the star assistance, and was his last hit. It’s not one I like much – all sound and no intensity, with the groove seeming more important than the song, and another horn arrangement.

Another famous friend, Rodney Crowell, helped to write the thoughtful ‘Longer Letter Later’, which portrays a man regretting his past decisions and struggling to put his feelings into words for his ex. A faintly Spanish feel to the arrangement, with accordion and castanets, adds musical interest to the quiet melody.

Bill Anderson co-wrote the infectious mid-tempo ‘Make It Look Easy’, which refers to various individuals who are great at what they do, and ruefully compares their skill to the protagonist’s failure to get over a failed love affair. The choice of superstars leans fairly heavily to sports stars; oddly no country singers are named (Ray Charles gets the sole singing spot, although Steve’s mentor Chet Atkins gets a nod for his guitar skills). I’m not sure the metaphor quite hangs together, but the song sounds pleasant enough. Bill, Steve, and Sharon Vaughn co-wrote the cheerful and irresistibly sing along love song ‘Blinded’, which should have been a single.

‘I Just Do’ (another love song) is a charming lightly swinging piece, which showcases the playing of “the Nashville Super Players”. This is the only solo composition, other than ‘Bloodlines’, the completely instrumental cut which closes the album. This is billed as a duet with Steve’s son Ryan and is very much a family affair, featuring Steve and Ryan on electric guitar, with Steve’s brother Terry adding support on baritone guitar, and only drummer Harry Stinson from outside the family.

I also like the attractive mid-tempo ‘It Wouldn’t Be Love’, written with Joe Barnhill, which reflects on the potential pain of love. ‘Turn In The Road’ is a melodic ballad (also with strings) about a mother’s comforting advice to her son in adversity, written with Jim Witter. These are nice but unexceptional songs lifted by Steve’s sensitive interpretation and beautiful voice, as is ‘Waiting In The Wings’ (written with Billy Kirsch). This is a story song about a youngest son marginalized in his own family, whose dreams sustain him.

Opening track ‘High Time’ is a rather dull pop-country number co-written by Steve with Marcus Hummon and Annie Roboff with intrusive backing vocals, but this is the only low point on the record, and even this does have a nice instrumental break to recommend it. Hummon’s songwriting is better showcased with the pensive reflection on relationship breakdown, ‘I Wish I Were A Train’.

Sales were as disappointing as radio play, and this was sadly to prove Steve’s final major label release.

Grade: B+

Cheap used copies are easy to find.