Catalog Number(s):
UA-LA740-G (Stereo LP)
Released: 1977
Peaked: #44 Billboard country chart
Recorded September 30, 1976 and February 11, 14, 1977 at Jack Clement Recording Studio, Nashville, TN
Producer: Larry Butler
Engineer: Billy Sherrill
Strings arranged by: Bill Justis
Mastered at: Master Control, Nahsville, TN by Bob Sowell
Musicians:
Jerry Shook, Jack Eubanks, Billy Sanford,, Reggie Young, Ray Edenton and Jimmy Capps— Guitar
Pete Drake — Steel Guitar
Buddy Harman, Jerry Carrigan and Eddy Anderson — Drums
Bobby Wood, Hargus “Pig” Robbins and George Richey — Keyboards
Joe Osborn and Bob Moore — Bass
Tommy Allsup — Bass Guitar
Roy Christensen, Carl Gorodetzky, Brenton Banks, Sheldon Kurland, Byron Theodore Bach, Steven Maxwell Smith, Lennie Haight, Gary Vanosdale, Marvin Katahn, George Binkley and Samuel Terranova — Strings
Background Vocals:
The Jordanaires with Carol Montgomery
Art Direction : Ria Lewerke
Album Design: Bill Burks
Photographer: Gary Regester
Singles Released From Album:
UA-XW898-Y When It’s Just You And Me / We Love Each Other – 10-76
UA-XW946-Y Every Word I Wrote / We Love Each Other – ca. 02-03-77
UA-XW1010 Tonight You Belong To Me / Tiny Fingers – 06-77
UA-XW1084 That’s All I Wanted To Know / Who’s Gonna Love Me Now? – 09-77
Side One
- When It’s Just You And Me (Kenny O‘Dell)
- That’s All I Wanted To Know (E. Penney – H. Moffat)
- Tonight You Belong To Me (Billy Rose – Lee David)
- You’re A Beautiful Place To Be (V. Stephenson)
- By Your Side (Ben Peters)
Side Two
- Every Word I Write (Roger Bowling – Jan Crutchfield – George Richey)
- All Night Long (R. Mainegra – M. Blackford)
- Save A Little For The Morning (Molly Leikin – Gloria Sklerov)
- The Lovin’ Kind (Larry Butler – R. Bowling)
- Till I Get It Right (Red Lane – Larry Henley)
- Tiny Fingers (J. Chesnut)
Reviews
The album, combines material by a variety of writers, including West, Rogers, Kris Kristofferson, Tammy Wynette, and others, with excellent work by the likes of Hargus “Pig” Robbins and Pete Drake for an almost flawless success.
The title cut is a superb love song, which, Dottie West was going to record by herself before someone got the idea of teaming her with Rogers. Her lustrous, throaty voice and Rogers’ seasoned strength mesh to make a perfect blend. There are other tracks with more fire than this; but the title song is a capsule comment on the album as a whole. The album, as is the song, is the meeting of two mature lovers, or former lovers trying to work out problems, walk band in hand, fantasize about the past, or hope for the future.
“Anyone Who Isn’t Me Tonight” is the most stunning cut, with classic Rogers timing rather like his smash hit, “Ruby”. He and West do a scorching, exultant portrayal of a couple boisterously drunk on love. It is a delight to hear, and often filled with tongue-in-cheek humor in performance.
“You And Me” is another enjoyable fun song, rather like the sort of things Sonny and, Cher did with “I Got You Babe.” It uses almost gospel metaphors and delivery and features the Jordanaires doing gospel harmonies in the background.
Kris Kristofferson’s moving “Loving Gift” is done with acoustic guitar and strings for lovely exploration of lovers carrying on intent conversation and learning about each other.
Tammy Wynette’s “That’s The Way It Could Have Been” is a casual, faded-jean, daisy-picking, fantasy which West and Rogers sing to perfection.
West and Rogers collaborated on writing “What’s Wrong With Us Today”. The silky strings on this and other cuts add to the end result, rather than detract, as they do on some recent country recordings.
But this is not purely country music. West is primarily a country star; but Rogers has always had a number of different strings to his guitar. He and West include a shimmering pop arrangement of David Gates, “Baby I’m A Want-You” on this album: it is a complete success. The delicate guitar, whispery bass, and keyboard work are excellent.
“Beautiful Lies” also includes exquisite keyboard work, rather reminiscent of some, Linda Ronstadt used recently for “When I Grow Too Old To Dream”. On the track, West’s low notes and Rogers’ high notes blend so well it’s often hard to tell who is singing.
This is the sort of mix that characterizes the entire album. The two voices blend, the arrangements are well-chosen and executerd with professional skill. The material ranges from traditional country to current pop to things like “We Love Each Other”, which sounds like some of Julie London’s music with the Four Freshmen for backup.
This album is unabashedly for romanties of all ages. What makes it so good is the intelligence of its romanticism. It could have turned out as sappy slush; it doesn’t. The maturity of the emotions, the quality of the vocal delivery, and the wise choice of material make it excellent from beginning to end. *(Johnson City Press Chronicle/ Ric La Rue)
