Restless (CD) ~ Sara Evans (Artist) Cover Art

Restless (CD)

By: Sara Evans (Artist)

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Sara Evans Artist Snapshot:

A product of the late-1990s Nashville pop-country movement, Sara Evans's albums were built on strong songwriting and a neo-traditionalist flair that won over the critics. Though very much a commercial-country singer, Evans is often associated with new revivalists like Gretchen Wilson. Evans hit number one on the country charts in 2004 with the supremely twangy "Suds in the Bucket," and continued that success with 2005's A REAL FINE PLACE.

Product Description

Track Listing

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DISC 1 for Restless (CD) Album By Sara Evans (Artist)
1   Rockin' Horse
2   Backseat Of A Greyhound Bus
3   Restless
4   Niagra
5   Perfect
6   Need To Be Next To You
7   To Be Happy
8   Tonight
9   Otis Redding
10   Feel It Comin' On
11   I Give In
12   Big Cry
13   Suds In The Bucket
 

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Review

Entertainment Weekly (9/26/03, p.94) - "...Evans has solid taste in balladry and a warm, welcoming voice you could just about fall into..." - Rating: B+

Title Note

Personnel: Sara Evans (vocals); Marcus Hummon, Biff Watson (acoustic guitar); J.T. Corenflos, Troy Lancaster (electric guitar); Gary Morse (steel guitar, dobro); Bryan Sutton (banjo); John Mock (penny whistle); Peter Kevin Fisher (harmonica); Timothy Lauer (accordion); Barry Green, Mike Haynes (horns); Steve Nathan (piano); John Hobbs (Hammond B-3 organ); Michael Rhodes, Glenn Worf (bass); Matt Chamberlain (drums); David Huff (shakers, percussion, programming); Eric Darken (percussion, programming); Vince Gill, Wes Hightower (background vocals).

Principally recorded at The Money Pit, Nashville, Tennessee.

While Sara Evans hasn't assimilated the rock-pop influence into her contemporary country sound to the same bold degree as someone like Shania Twain, she's certainly informed by those sensibilities. There are plenty of rootsy touches to the arrangements here to remind us that this is Nashville, not Hollywood, but the predominance of power ballads and the quality of Evans's big, belting voice suggest what might have happened if Pat Benatar had been a country girl. One can't help wondering, for instance, how conscious the lyrical nod to the Allman Brothers' "Ramblin' Man" might be in Evans's "Backseat of a Greyhound Bus." And once you've sunk your teeth into a big, juicy Diane Warren torch song like the epic production "Need to Be Next to You," you're on your way to pop divahood whether you like it or not.

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