Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SATURDAY, March 5, 1994 TAG: 9403070134
SECTION: EXTRA PAGE: EDITION: METRO
SOURCE: Mark Morrison
DATELINE: LENGTH: Medium
It is on those records where you can find real magic, where the die-hard country fan can glean an appreciation for soul, and where the loyal R&B listener can cull the same from country. It is also on those records where you can come to an understanding of how the two genres overlap more than you might think.
You don't need the calculated concept of "Rhythm Country and Blues" to spell it out for you.
That's not to say the album, released earlier this week, isn't worth a listen.
Despite its obviousness, "Rhythm Country and Blues" does have its moments, particularly with the pairings of Aaron Neville and Trisha Yearwood on the Patsy Cline classic, "I Fall to Pieces," and Clint Blacko with The Pointer Sisters on Aretha Franklin's "Chain of Fools."
These are the album's two standout numbers.
Of course, neither cut matches the original versions. That would be impossible.
Still, they stand up well. Partly, that is a testament to the strength of the songs. Both "Chain of Fools," written by Don Covay, and "I Fall To Pieces," written by Hank Cochran and Harlan Howard, are near perfect representatives of the best that soul and country have to offer.
But also, the performances here are especially strong. Together, Neville and Yearwood sound eerily like Neville and Linda Ronstadt. Their take on Patsy Cline is somber and beautiful, without being sappy or melodramatic. And as usual, Neville's distinctively stylized falsetto is exceptional.
The unlikely Clint Black is equally extraordinary taking on the Queen of Soul. His vocal work on "Chain of Fools" is so surprisingly soulful, it is hard to believe that it's coming from Black, one of country music's most authentic honky-tonkers. Seriously, he sounds like a fourth Pointer Sister. He also adds a mean harmonica to the mix that would have been right at home on Aretha's original. The Pointer Sisters, not as surprisingly, sound right at home, too.
Other duet pairings include Lyle Lovett and Al Greeno doing Willie Nelson's "Funny How Time Slips Away," Tanya Tuckero and Little Richard doing Eddie\ Cochran's rockabilly "Somethin' Else," Reba McEntire and Natalie Cole doing\ the torch standard "Since I Fell For You," Chet Atkins and Allen Toussaint\ doing Toussaint's "Southern Nights," Marty Stuart with The Staple Singers doing\ The Band's "The Weight," and George Jones and B.B. King doing Clarence Carter's\ "Patches."
The album's biggest miss is Travis Tritt and Patti Labelle's overblown sharing of the Sam and Dave R&B ballad, "When Something Is Wrong With My Baby." Apparently, they never learned that vocal dramatics are no substitute for soul.
The prospect of a Conway Twitty duet always has the potential to be similarly overdramatic. Fortunately here, Twitty keeps his signature growl in check and does a pleasingly respectable job on "Rainy Night In Georgia" with Sam Moore formerly of Sam and Dave. For the late Twitty, it is a fitting footnote to a long career.
Technically, "Rhythm Country and Blues" was nicely produced by Don Was. The musicianship is professional, if not inspired, throughout. The song selections are excellent, and the pairings are, if nothing else, at least interesting. They also leave you pondering about other possibilities. How about James Brown and Garth Brooks? Merle Haggard and Whitney Houston?
In the end, the album is not a grand artistic statement, nor does it create its own musical genre, as the MCA Records publicity machine wants people to believe. In the end, it is what it is: a novelty record.
Fun, but nothing magical.
Perhaps the opening duet on "Rhythm Country and Blues" between Vince Gill\ and Gladys Knight, doing their take on the profoundly better Marvin Gaye and Tammi Terrell, sums it up best. "Ain't Nothing Like The Real Thing."
Do yourself a favor.
MARK MORRISON
f\ LT f-b f-i s\ 11 f\ REGThe late Conway Twitty's duet with Sam Moore of "Rainy Night In Georgia" turns out to be a fitting footnote to Twitty's long career.|
by CNB