After making history as the first woman to score three consecutive multi-week number one hits, bringing a cover of an old Dottie West tune to number two, and winning the CMA Horizon Award, expectations were unbelievably high for whatever Jo Dee Messina would do next.
The world got their answer in May 2000, when the decidedly very pop “That’s The Way” was shipped to country radio. The track, which was soaked in mandolin, soared to #1. Penned by Annie Roboff and Holly Lamar, “That’s The Way” is undeniably infectious and one of the strongest examples of turn-of-the-century pop-country done right.
When Burn hit stores in August, it became Messina’s first record to top the Billboard Top Country Albums chart. Produced once again by Byron Gallimore and Tim McGraw, Burn was distinctively different than it’s predecessors in that it favored bright hooks that would help Messina appeal to a more mainstream audience.
The epic title track, a stunning mid-tempo power ballad, hit radio in October. Written by Tina Arena, Steve Werfel and Pam Reswick, “Burn” was a cover of Arena’s 1997 single, which exploded in her native Australia. Messina took her version to #2.
The third single, “Downtime,” returned Messina to uptempo territory. Written by Phillip Coleman and Carolyn Dawn Johnson, the track peaked at #5. Like “That’s The Way,” “Downtime” succeeds on it’s infectious melody, which is more reliant on drums and guitars than her previous upbeat single. It’s excellent none-the-less.
Messina would return to #1 with the fourth single, a lush pop ballad entitled “Bring On The Rain.” A song about not surrendering to grim circumstances, the Billy Montana and Helen Darling penned number is probably most notable for finally teaming Messina with McGraw, who provides a harmony vocal that gives the song the perfect amount of added texture.
Final single “Dare To Dream,” which came as the album cycle was dying down, fared the worst peaking at #23. Another rollicking uptempo, “Dare To Dream” employs the wall-of-sound production technique and even though Messina sells it hard, it’s not a very strong song.
When Burn came out fifteen years ago, I actually wrote a pretend review for it and noted the album had a heavy reliance on uptempo tracks, which I viewed as a negative for the overall listening experience. I still agree with that assessment. Burn is the type of album where once you’ve heard one uptempo, you’ve really heard them all. The lack of variety might work from a commercial prospective, but it drags the album down.
That being said, my favorite album cut is George Teren and Tom Shapiro’s “If Not You,” another infectious pop-country rocker not to far removed from the singles in this vein. There’s nothing spectacular about the lyric or anything, but the song has stuck with me all these years.
It’s very easy to see why Burn is such a let-down in the wake of Jo Dee Messina and I’m Alright. With significant effort dedicated to eradicating the depth she showed on her previous projects, Burn becomes nothing more than a pandering mainstream product.
What ultimately saves it, though, is the crispness of the production and Messina’s commitment to give her all on every track. There’s nothing overly loud or obnoxious about Burn. Do drum machines replace fiddles and steel guitar? Of course they do. But this is turn-of-the-century commercial country music at it’s finest. What you see is what you get, a time capsule of the sounds that drove the genre in 2000.