December 19, 2017
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Although the New Traditionalist movement would not get fully underway until 1986, there were some signs of the changes that to come as early as 1984. That was the year that The Judds enjoyed their first #1 hit with “Mama He’s Crazy” and Reba McEntire received both critical accolades and commercial success with My Kind of Country, while George Strait and Ricky Skaggs continued to keep traditional country on the radio.
1984 also saw some changes for The Bellamy Brothers, although they moved in the opposite direction, with more layered production and pop elements than had previously been the case with their music. The change was likely precipitated by a change of co-producers, with Steve Klein taking over for Jimmy Bowen, a switch that was probably brought about by a change in label affiliations. In the 1970s and 1980s Curb Records was not a standalone label; they typically partnered up with a larger label to distribute and promote their artists. Up to now, the Bellamys’ albums were released jointly by Curb and either Warner Bros. or Elektra, but beginning in 1984, their music was released by MCA/Curb.
Restless, their first release under this new arrangement, was warmly received by radio, with all three of its singles reaching the Top 10 or better. “Forget About Me” (which I actually had forgotten about) reached #5. The very mellow “The World’s Greatest Lover”, complete with its Kenny G-esque saxophone, reached #6 and “I Need More of You” — the best of the three — climbed all the way to #1, becoming the duo’s seventh country chart-topper. “Forget About Me” was written by Frankie Miller, Troy Seals and Eddie Setser, while the other two singles came from the pen of David Bellamy.
Overall this is a very mellow album with mostly mid-tempo numbers, with “Rock-A-Billy” — which is exactly the kind of song its title suggests — and the title track being notable exceptions. The poppy and lyrically-light “I Love It” is a very catchy toe-tapper. “Diesel Cafe”, about a run-down greasy spoon truck stop has a melody that reminds me of Alabama’s “Christmas In Dixie.” I did not care for the reggae-flavored “We’re Having Some Fun Now.”
While there is nothing truly objectionable on Restless, it seems to be somewhat of an opportunity for the duo to explore other musical styles, which unfortunately results in them straying a bit too far at times from their country roots. I wouldn’t necessarily go out and buy this one, but it is worth streaming.