May 12, 2010
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Only a few months after the release of her last solo album, Amber Digby is back with a collection of duets with her longterm producer Justin Trevino, a recording artist in his own right with a vibrato-laden tenor reminiscent of the country music of the 1960s. Their voices blend together very well, bearing comparison with the classic duos of the past, and the result is a delightful record which sounds as though it could have been made 40 years ago yet has a timeless feel. The production (credited jointly to Amber and Justin) is exemplary, with the musicians including Amber’s husband Randy Lindley on various guitars and stepfather Dickie Overbey on steel.
As has become customary for an Amber Digby record, everything here is a cover (mostly from the 1960s or early 1970s), but the pair have mixed in some obscure cuts in with the better known songs, and the quality of the 14 songs selected is uniformly high. The subject matter is exclusively relationships: love songs, cheating songs, and tales of marital unhappiness.
My favorite track on the album is the pair’s version of ‘Lead Me On’, a smash hit in 1971 for Conway Twitty and Loretta Lynn. This has a couple on the verge of an illicit relationship and wanting some encouragement. The vocals are particularly outstanding here from both Justin and Amber.
The fiddle-led ‘Which One is To Blame’ is another delightful cheating song mixing regret and desire, with Amber and Justin swapping lines through the song, as they share the anguish of forbidden love:
Amber: Somehow I can’t blame myself
Although I guess I should
Justin: And I can’t put the blame on you
I wouldn’t if I could
Amber: We’ve made ourselves the gossip of the town
Justin: The things we’ve done can only bring us shame
Together: We’ve let our passion drag our honor down
I wonder which one of us is to blame
There is less penitence in the defiant passion of ‘After The Fire Is Gone’, where the couple blame their infidelity on a moribund marriage. This is a great song which has been recorded so many times I sighed inwardly when I initially saw it on the track listing, but this is a very fine version which is well worth hearing.
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