Having gained artistic and fan notoriety in Austinâ€™s Uncle Waltâ€™s Band, David Ball spent more than a decade searching for commercial success in Nashville. He recorded an album for RCA in 1988, but after the initial singles had only middling chart success, the album was vaulted until this 1994 Warner Brothers release broke nationally. The sessions offered uncompromising neotraditional country, just as the neotraditional movement was giving way to crossover sounds; but fans apparently hadnâ€™t gotten the marketing memo, as theÂ album launched five country chart singles and sold double platinum. At the age of 41, Ballâ€™s maturity – both musically and experientially – shows in music thatâ€™s rife with broken hearts that wonâ€™t stop loving, bittersweet memories that continue to surface, and emotional bruises salved with an alcohol liniment.
Produced by Blake Chancey and engineered by the legendary Billy Sherrill, the album is backed studio players who came together into a tight, twangy honky-tonk band of fiddle, steel, piano, drums and generous amounts of Telecaster. Ballâ€™s voice was recorded without the sort of mid-90s studio effects that polished and pumped singers for radio, and it leaves his emotional connection to the lyrics exposed for everyone to hear. The record doesnâ€™t sound anachronistic (even for its own time), but the throwback connections from Ballâ€™s earlier work with Uncle Waltâ€™s Band are clear. The albumâ€™s lone cover is a devastating take on Webb Pierceâ€™s â€œA Walk on the Wild Side of Life,â€ opening with a haunted acapella intro that leaves the protagonist to forever stalk an empty house. Ballâ€™s original material — reportedly winnowed down from a hundred songs over two years to the ten included on the original album – is superb.
The uptempo title track provided the first of five singles to make the country chart, falling just shy of the top at #2. The other four include the mid-tempo honky-tonk of â€œLook What Followed Me Homeâ€ and â€œHonky Tonk Healinâ€™,â€ the slow, bluesy â€œWhat Do You Want With His Love,â€ and the pained ballad â€œWhen the Thought of You Catches Up to Me.â€ The album tracks are just as good, including the rockabilly-tinged â€œDown at the Bottom of a Broken Heartâ€ and the Tex-Mex flavors of â€œDonâ€™t Think Twiceâ€ that evoke Buck Owens, Doug Sahm, and the Mavericks.
Omnivoreâ€™s anniversary reissue adds eight demos that show just how hard the choice of ten album tracks must have been. Ballâ€™s liner notes suggest â€œIâ€™ve Got a Heart With Your Name On Itâ€ as George Strait-styled material, but the simply arranged demo and Ballâ€™s heart-on-sleeve vocal are more in line with Nick Loweâ€™s post-Jesus of Pop singer-songwriter works. The old-timey â€œGoodbye Heartache, Hello Honky Tonkâ€ and â€œThe King of Jackson Mississippiâ€ reach back to Uncle Waltâ€™s Band more directly than the tracks that made the album, and â€œGive Me Back My Heartâ€ has some incredibly fine, and surprisingly extensive guitar picking, for a demo. The original albumâ€™s appeal has proven timeless in its emotion and artistry, and augmented by period demos, this reissue is a must-have upgrade for fans. [Â©2020 Hyperbolium]