Before Shelby Lynne reinvented herself at the end of the 1990s and began recording for Mercury, she made a number of fine recordings that were unfortunately lost in the heap of "new traditionalist" and female superstar recordings that were popping out of Nash Vegas like zits. This 1990 effort, produced by the great Bob Montgomery, is a case in point. Not only does this hold up to her best work, it's at the very least on a par with Kathy Mattea, Trisha Yearwood, Martina McBride, etc. It just isn't a strictly country outing, ...
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Before Shelby Lynne reinvented herself at the end of the 1990s and began recording for Mercury, she made a number of fine recordings that were unfortunately lost in the heap of "new traditionalist" and female superstar recordings that were popping out of Nash Vegas like zits. This 1990 effort, produced by the great Bob Montgomery, is a case in point. Not only does this hold up to her best work, it's at the very least on a par with Kathy Mattea, Trisha Yearwood, Martina McBride, etc. It just isn't a strictly country outing, but it's a truly fine pop-country record. Interestingly, it also has the range of her later records. While there are songs here from the then-current crop of Nash Vegas song churners, like the opener, "I'll Lie Myself to Sleep," there are also cuts like the gorgeous gentle Western swing of "Don't Mind if I Do," by the legendary Skip Ewing. The tune borrows as much from Billie Holiday's "Ain't Nobody's Business" as it does from early Bonnie Raitt and Maria Muldaur. And then there's a burning, hard-rocking cover of Charlie Rich's early hit "Lonely Weekends." It's more Dixie-fried than Rich's version, but it comes across as a thoroughly contemporary country-rock song with ringing guitars à la the Doobie Brothers' Toulouse Street, an Elvis-styled delivery, and a piano shuffle in the background that keeps the lyric from sinking under the weight of a cooking band. Wayne Carson's "Dog Day Afternoon" sounds like a latter-day Rich number, or one Tom Waits wrote for Crystal Gayle for the One from the Heart soundtrack; it's all jazzy, warm, and sensual. If there were any doubts about Lynne's country pedigree, it vanishes when her radical working of "I Walk the Line" comes through the speakers. Bluesy, shuffling, and the slightest bit funky, her sense of Cash's melody remains untouched. The set ends with another Western swing-influenced nugget, but this one comes from Duke Ellington, "Don't Get Around Much Anymore," before it breaks out into a full-blown Patsy Cline country-jazz tune. She saved the best moment for last here, and it is so original in its swinging elegance that listeners can only wonder if she might have taken the Diana Krall route, in that she not only has the pipes and the chops, but the feel for this material. Tough All Over is wonderful from start to finish. ~ Thom Jurek, Rovi
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