10 | ||||
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Studio album by | ||||
Released | March 1987 | |||
Recorded | Late 1986 | |||
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Genre | Western swing [1] | |||
Length | 29:37 | |||
Label | Epic | |||
Producer | ||||
Asleep at the Wheel chronology | ||||
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Singles from 10 | ||||
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10 is the ninth studio album (tenth album overall) by American western swing band Asleep at the Wheel. Recorded at Bee Creek Studios in Spicewood, Texas and the Austin Recording Studio in Austin, Texas, it was produced solely by the band's frontman Ray Benson and released in March 1987 as the group's first album back on Epic Records. 10 was the group's first album on a major label since 1980's Framed , and its first to register on the US Billboard charts since 1978's Wheelin' and Dealin' .
Following the release of Pasture Prime in 1985, Asleep at the Wheel experienced a resurgence in popularity which led to them re-signing with Epic. The group settled with a new lineup of Benson, steel guitarist John Ely, bassist David Dawson, pianist Tim Alexander, drummer David Sanger, fiddler Larry Franklin and saxophonist Michael Francis, four of whom had featured on the 1985 record. 10 was the band's first album since the departure of Chris O'Connell, although she appears as a guest.
10 was a critical and commercial success. The album was Asleep at the Wheel's second release to reach the top 20 of the US Billboard Top Country Albums chart, peaking at number 16. The collection also spawned four singles, all of which registered on the Hot Country Singles chart, with "House of Blue Lights" peaking at number 17 – the band's second to reach the top 20 of the chart. Critical reviews of the album were mainly positive, praising its return to the band's Western swing sound.
In 1986, Asleep at the Wheel introduced a new lineup comprising lead vocalist and guitarist Ray Benson, steel guitarist John Ely, bassist David Dawson, pianist Tim Alexander, drummer David Sanger, fiddler Larry Franklin and saxophonist Michael Francis. [2] The band signed with Epic Records and recorded its ninth studio album that year, which was its first since Chris O'Connell's departure after becoming pregnant. [3] In early 1987, Epic imprint CBS/Nashville Senior Vice President Rick Blackburn reported that the album was "just about done", claiming that "They're better now than they've ever been and their confidence level is soaring". [4]
"Way Down Texas Way" (written by Billy Joe Shaver) was issued as the lead single from 10 in January 1987, reaching number 39 on the US Billboard Hot Country Singles chart. [5] The album was released in March. [6] "House of Blue Lights" (first recorded by Freddie Slack) was released as the album's second single in May and became the band's second song to reach the top 20 of the Billboard country chart, peaking at number 17. [7] Two more tracks were issued from 10 and registered on the Hot Country Singles chart – Ray Benson's "Boogie Back to Texas" peaked at number 53, [8] and Guy Clark's "Blowin' Like a Bandit" peaked at number 59. [9]
10 entered the Billboard Top Country Albums chart at number 45 in April 1987, [10] later becoming the band's third album (and their first release in eleven years) to reach the top 20 when it peaked at number 16 in July. [11] It also reached number 12 on the Cash Box Country Albums chart. [12]
Media reviews of 10 were generally positive. Billboard magazine described the album as "a solid collection of mainly Western swing numbers", praising "House of Blue Lights", "I Want a New Drug" and "Blues Stay Away from Me" in particular. [1] Cash Box also highlighted the Freddie Slack and Delmore Brothers tracks, as well as Fontaine Brown's "Big Foot Stomp". [13] Canadian magazine RPM outlined that "[the band's] brand of Western swing music is almost legend", hailing the record as "a fun album" and describing it as "the real country mood music". [14]
10 earned Asleep at the Wheel its second Grammy Award, winning Best Country Instrumental Performance for its original track "String of Pars". [15]
No. | Title | Writer(s) | Length |
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1. | "Way Down Texas Way" | Billy Joe Shaver | 2:37 |
2. | "Tulsa Straight Ahead" (originally recorded by Leon McAuliffe and His Western Swing Band ) | Jimmy Hall | 2:06 |
3. | "Coast to Coast" (originally recorded by Fred O. Knipe) | Fred O. Knipe | 3:05 |
4. | "House of Blue Lights" (originally recorded by Freddie Slack and Ella Mae Morse ) | 3:07 | |
5. | "Blowin' Like a Bandit" (originally recorded by Guy Clark ) | Guy Clark | 2:17 |
6. | "I Want a New Drug" (originally recorded by Huey Lewis and the News ) |
| 3:41 |
7. | "Big Foot Stomp" | Fontaine Brown | 3:33 |
8. | "Boogie Back to Texas" | Ray Benson | 3:17 |
9. | "String of Pars" |
| 3:07 |
10. | "Blues Stay Away from Me" (originally recorded by the Delmore Brothers ) | 2:47 | |
Total length: | 29:37 |
Asleep at the Wheel
Guest musicians
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Additional personnel
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Chart (1987) | Peak position |
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US Hot Country LPs ( Billboard ) [11] | 16 |
"You Keep Me Hangin' On" is a song written and composed by Holland–Dozier–Holland. It was first recorded in 1966 by American girl group the Supremes, reaching number one on the Billboard Hot 100. American rock band Vanilla Fudge released a cover version in June of the following year, which reached number six on the Billboard Hot 100. English singer Kim Wilde covered "You Keep Me Hangin' On" in 1986, bumping it back to number one on the Billboard Hot 100 in June 1987. In the first 32 years of the Billboard Hot 100 rock era, "You Keep Me Hangin' On" became one of six songs to reach number one by two different musical acts. In 1996, American country singer Reba McEntire's version reached number two on the US Billboard Hot Dance Club Play chart. The BBC ranked the Supremes' original song at number 78 on The Top 100 Digital Motown Chart, which ranks Motown releases by their all-time UK downloads and streams.
"When Will I Be Loved" is a classic popular song written by Phil Everly of the Everly Brothers, who had a US top-ten hit with it in 1960. Linda Ronstadt covered the song in 1975, and her version was an even bigger hit in the US, peaking at No. 2. Vince Gill also covered it in 1994 on the soundtrack of the film 8 Seconds.
Comin' Right at Ya is the debut album by American western swing band Asleep at the Wheel. Produced by Tommy Allsup at Mercury Custom Studios in Nashville, Tennessee, it was released in March 1973 as the group's only album on United Artists Records. The album features a variety of traditional and original compositions, including recordings of songs originally by Bob Wills, Hank Williams and Geoff Mack. Most of the original tracks on the album were written by drummer and vocalist LeRoy Preston.
Asleep at the Wheel is the second album by American western swing band Asleep at the Wheel. Produced by Norro Wilson at Columbia Recording Studios in Nashville, Tennessee, it was released in September 1974 as the group's first album on Epic Records. As with its predecessor Comin' Right at Ya, Asleep at the Wheel's self-titled album featured a mix of traditional and original compositions, including songs written by popular country musicians Rex Griffin, Cindy Walker and Hank Penny.
Texas Gold is the third album by American country band Asleep at the Wheel. Produced by Tommy Allsup primarily at Jack Clement Studios in Nashville, Tennessee, it was released in August 1975 as the group's first album on Capitol Nashville. The album was the band's first commercial success, charting on the US Billboard 200 and reaching the top ten of the Top Country Albums chart. Lead single "The Letter That Johnny Walker Read" also reached the Hot Country Songs top ten.
Wheelin' and Dealin' is the fourth album by American western swing band Asleep at the Wheel. Produced by Tommy Allsup at Woodland Sound Studio in Nashville, Tennessee, it was released in July 1976 as the group's second album on Capitol Nashville. It is the band's first album to feature a second fiddler, Bill Mabry, as well as saxophonist Link Davis Jr. The album was a commercial success, charting on the US Billboard 200 and reaching the top 20 of the Top Country Albums chart.
The Wheel is the fifth album by American western swing band Asleep at the Wheel. Produced by Tommy Allsup at Sumet-Bernet Studios in Dallas, Texas, it was released on March 14, 1977 as the group's third album on Capitol Nashville. Unlike the band's previous releases, all of which included covers of songs originally recorded by popular country and jazz artists, The Wheel features entirely original material, most of which was written by band member LeRoy Preston.
Collision Course is the sixth album by American country band Asleep at the Wheel. Produced by Joel Dorn at Regent Sound Studios in New York City, it was released in June 1978 as the group's fourth and final studio album on Capitol Nashville. After 1977's The Wheel featured all original material, Collision Course features only two tracks written by members of the band. The remaining recordings are covers of compositions originally by popular Western swing, Cajun and jazz artists.
Served Live is the first live album by American country band Asleep at the Wheel. Recorded over two nights at the Austin Opry House in Austin, Texas in January 1979, it was produced by the band's frontman Ray Benson with Chuck Flood, and released on June 11, 1979 as the group's final album on Capitol Nashville. Neither the album nor its sole single, "Choo Choo Ch'Boogie", registered on the US Billboard record charts – the band's first album since 1974 not to do so.
Framed is the seventh studio album by American country band Asleep at the Wheel. Recorded at several studios in Austin and Dallas, Texas, it was produced solely by the band's frontman Ray Benson and released on August 5, 1980 as the group's only album on MCA Records. Following the departure of the group's primary songwriter LeRoy Preston in 1978, the original material on Framed was written primarily by Benson, with Chris O'Connell the only other credited member.
Pasture Prime is the eighth studio album by American western swing band Asleep at the Wheel. Produced by Ray Benson at Austin Recording and Bee Creek Studios in Austin, Texas, and by Benson and Willie Nelson at Pedernales Recording Studio in Briarcliff, Texas, it was released in April 1985 by Demon Music Group in the UK and Stony Plain Records in Canada. The album was later repackaged in the US with three fewer tracks and released under the title Asleep at the Wheel.
Western Standard Time is the tenth studio album by American country band Asleep at the Wheel. Recorded at various studios in Austin, Dallas, Briarcliff and San Marcos, Texas it was produced solely by the band's frontman Ray Benson and released in August 1988 as the group's second album back on Epic Records. Western Standard Time is the band's first album to feature no original material, relying on recordings of compositions originally by popular swing, R&B and big band artists.
Keepin' Me Up Nights is the 11th studio album by American western swing band Asleep at the Wheel. Recorded primarily in Nashville, Tennessee, it was produced by the band's frontman Ray Benson with Barry Beckett, Tim DuBois and Scott Hendricks, and released in July 1990 as the group's first album on Arista Records. Unlike its 1988 predecessor Western Standard Time, Keepin' Me Up Nights features almost all original material, with just one cover version included.
Tribute to the Music of Bob Wills and the Texas Playboys is the 12th studio album and first tribute album by American country band Asleep at the Wheel. Recorded at studios in Austin, Texas and Nashville, Tennessee, it was produced by the band's frontman Ray Benson and released on October 25, 1993 by Liberty Records. The collection features recordings of songs made popular by Western swing group Bob Wills and His Texas Playboys, a major influence on Asleep at the Wheel.
The Wheel Keeps on Rollin' is the 13th studio album by American country band Asleep at the Wheel. Recorded at studios in Austin, Texas and Nashville, Tennessee, it was produced by Andy Byrd with the band's frontman Ray Benson and released on November 21, 1995 by Capitol Nashville. The album was produced to mark the 25th anniversary of the group's 1970 inception, and was its first collection of new original studio material since the release of Keepin' Me Up Nights in 1990.
Back to the Future Now: Live at Arizona Charlie's, Las Vegas is the third live album by American country band Asleep at the Wheel. Recorded on December 6 and 7, 1996 at Arizona Charlie's Decatur in Las Vegas, Nevada, it was produced by the band's frontman Ray Benson with Blake Chancey and released on May 20, 1997 by Sony Music imprint Lucky Dog. The album did not chart, spawned no single releases, and received mixed reviews from critics.
Merry Texas Christmas, Y'all is the 14th studio album and first Christmas album by American western swing band Asleep at the Wheel. Recorded at Bismeaux Studio in Austin, Texas, it was produced by the band's frontman Ray Benson and released on September 30, 1997 by High Street Records. The album includes a mix of traditional and original songs, which feature guests including Willie Nelson, fiddler Johnny Gimble and former Asleep at the Wheel pianist Floyd Domino.
Ride with Bob: A Tribute to Bob Wills and the Texas Playboys is the 15th studio album and second tribute album by American country band Asleep at the Wheel. Recorded between June 1998 and March 1999 at studios in Austin, Texas and Nashville, Tennessee, it was produced by the band's frontman Ray Benson and released on August 10, 1999 as the band's only album on DreamWorks Records. The album is another tribute to the music of Bob Wills and His Texas Playboys.
The discography of Asleep at the Wheel (AATW), an American country band, consists of 25 studio albums, 16 live albums, 21 compilation albums, seven extended plays (EPs), 37 singles, four video albums and 17 music videos.