MEL TILLIS > Me and Pepper; Your Body is An Outlaw; Southern Rain

Mel Tillis had already made the climb from obscurity to stardom when he joined Elektra in 1979, but his move from MCA offered another example of the tension between artistry and commerce that’s been a recurring theme in modern music circles. These three CDs also marked three more occasions where Tillis and highly successful (if also quite controversial) producer Jimmy Bowen collaborated on projects.Label: ELEKTRA/COLLECTORS’ CHOICE
[RATING: 2.5 STARS; 3 STARS; 3.5]

Mel Tillis had already made the climb from obscurity to stardom when he joined Elektra in 1979, but his move from MCA offered another example of the tension between artistry and commerce that’s been a recurring theme in modern music circles. These three CDs also marked three more occasions where Tillis and highly successful (if also quite controversial) producer Jimmy Bowen collaborated on projects.

Their first album, Me and Pepper, embodied the countrypolitan sound. Tillis’ voice retained its expressiveness and honesty, but expansive (sometimes almost draining) arrangements surrounded him on “Blind in Love” and “Lying Time Again.” Tillis was more energized on “I’m Sorry” and “You Threw Away the Mold, while “Uphill All the Way” and “Black Jack, Water Jack” were capably performed, but not that lyrically striking.

The strings and schmaltz were trimmed for his second Elektra set Your Body Is an Outlaw, and it resulted in a grittier, heartfelt and genuinely country work. Though the previous album had included backing from such giants as James Burton, Glen D. Hardin and Sonny Curtis, this time Tillis’ band the Statesiders provided musical assistance, and they put some fire and punch underneath and behind him.

Tillis’ unheralded (at the time) daughter Pam’s glowing background vocals helped make “Your Body Is An Outlaw” a surging, potent tune…as well as a Top 10 smash, while the second single “Steppin Out” proved a nice change of pace number. Tillis soared on “Sweet Little Miss Blue Eyes,” a fine Don Helms composition that previously hadn’t clicked for anyone. There were also hot versions of two Bob Wills pieces, “Cherokee Maiden” and “Stay a Little Longer,” that underscored his western swing roots. Unfortunately the LP didn’t commercially generate fireworks, and Your Body Is an Outlaw generated more critical raves than radio airplay or sales.

Then Bowen changed tactics on Southern Rain. Aimed squarely at the mainstream country audience with lean, hard and straightforward arrangements, this album contained several first-rate tunes. These included Roger Murrah’s triumphant title track, along with “Shame on You, Shame On Me,” “Forgive Me For Giving You the Blues,” and “Pyramid of Cans.” Tillis sang with conviction and authority, smoothly moving from heartache to celebration, anger to regret. The company also got three solid hits with “Southern Rain” (a No. 1), “A Million Old Goodbyes” and “One Night Fever.”

But Tillis eventually returned to MCA. These three discs cover a period in his great career that had its big moments, but also its share of disappointments.