The Wheel | ||||
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Studio album by | ||||
Released | March 14, 1977 | |||
Recorded | January 1977 | |||
Studio | Sumet-Bernet Studios (Dallas, Texas) | |||
Genre | ||||
Length | 36:39 | |||
Label | Capitol Nashville | |||
Producer | Tommy Allsup | |||
Asleep at the Wheel chronology | ||||
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Singles from The Wheel | ||||
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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 (save for one traditional song), most of which was written by band member LeRoy Preston.
Following the release of Wheelin' and Dealin' the previous year, Asleep at the Wheel expanded to an 11-piece unit with the addition of second saxophonist Patrick "Taco" Ryan. For the recording of The Wheel, the band and Allsup opted to work entirely in Texas for the first time, rather than returning to Nashville, Tennessee. As well as being the first all-original album by the band, it is also their first not to feature multiple additional musicians, with Leon Rausch the sole guest on just one track.
The Wheel was Asleep at the Wheel's third consecutive album to register on the US Billboard 200 albums chart (on which it peaked at number 162) and to reach the top 40 of the Top Country Albums chart (on which it peaked at number 31). Just one single was issued from the record – the Rausch-featured "Somebody Stole His Body", which failed to chart. Reviews for the album were generally positive, with critics praising the "fun" nature of the music alongside the high quality of the performances.
For the recording of The Wheel, Asleep at the Wheel opted not to work in Nashville, Tennessee for the first time, instead recording their fifth studio album at Sumet-Bernet Studios in Dallas, Texas, where Bob Wills' final studio album For the Last Time was tracked. [4] The band's pedal steel guitarist Lucky Oceans recalls that the album was recorded "basically live" with no overdubs, resulting in what he describes as the group's "most live sounding studio album". [4] After the recording completed in January 1977, the album was released by Capitol Records on March 14, 1977. [5] "Somebody Stole His Body" was released as the sole single in June 1977. [6]
Upon its release, The Wheel debuted on the US Billboard Top Country Albums chart at number 40 and the Billboard 200 top albums chart at number 181. [7] [8] It later peaked at number 31 on the country chart (12 places lower than Wheelin' and Dealin' ) and number 162 on the main albums chart (18 positions higher than Wheelin' and Dealin'). [9] The album also reached number 23 on the Cash Box Top 50 Country Albums chart, [10] number 153 on the Record World Album Chart, [11] and number 14 on the publication's Country Album Chart. [12] "Somebody Stole His Body" did not chart.
Review scores | |
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Source | Rating |
AllMusic | [1] |
Christgau's Record Guide | A− [13] |
The Rolling Stone Album Guide | [14] |
Tom Hull – on the Web | B+ ( ) [15] |
Reviews for The Wheel were widely positive. An uncredited review of the album in Billboard hailed the record as "Some more first-rate western swing ... from a group that has mastered this form," noting that it features "a powerfully authentic feel for music in the Bob Wills tradition". [2] Similarly, Cash Box described the record as "a highly compatible coupling of country and big band sounds that assures this band its own special niche," proclaiming that "Western swing never had it so good." [3] Both publications awarded particular praise to Tommy Allsup's production, [16] with the former enjoying the "solid, bouncy instrumentation" throughout. [2]
AllMusic writer Michael Ofjord noted that "The Wheel finds Asleep at the Wheel consistently making music full of fun, along with fine musicianship and a sense of purpose". He added: "What sets this record above other bands ... is a sense of integrity beneath the surface. However, that sense of purpose is never so heavy-handed that a feeling of festivity is too far away. [...] Asleep at the Wheel has made a fine record that will appeal to both the average fan and serious students of the Western swing tradition." [1] Music critic Robert Christgau gave the album an A− grade, his highest for the band since their debut, Comin' Right at Ya . [13]
Following the release of The Wheel, Asleep at the Wheel were nominated for two Grammy Awards: the album received a nomination for Best Country Performance by a Duo or Group with Vocal, while "Ragtime Annie" was recognised in the category of Best Country Instrumental Performance. [17]
No. | Title | Writer(s) | Length |
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1. | "The Wheel" | Asleep at the Wheel | 4:14 |
2. | "I Wonder" | LeRoy Preston | 3:23 |
3. | "Am I High?" |
| 3:53 |
4. | "A Dollar Short and a Day Late" |
| 3:15 |
5. | "My Baby Thinks She's a Train" | Preston | 3:23 |
6. | "Ragtime Annie" | Traditional; arranged by Asleep at the Wheel | 2:43 |
7. | "When Love Goes Wrong" | Preston | 2:52 |
8. | "Somebody Stole His Body" | Preston | 2:43 |
9. | "Let's Face Up" |
| 3:12 |
10. | "I Can't Handle It Now" | Preston | 3:12 |
11. | "Red Stick" | Link Davis Jr. | 2:58 |
Asleep at the Wheel
| Additional personnel
|
Chart (1977) | Peak position |
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US Billboard 200 [9] | 162 |
US Hot Country LPs ( Billboard ) [9] | 31 |
Asleep at the Wheel is an American country music group that was formed in Paw Paw, West Virginia, and is based in Austin, Texas. The band has won nine Grammy Awards since their 1970 inception, released over twenty albums, and has charted more than 21 singles on the Billboard country charts. Their highest-charting single, "The Letter That Johnny Walker Read", peaked at No. 10 in 1975.
Wheelin' & Dealin' is an album by Frank Wess, John Coltrane, Paul Quinichette, Mal Waldron, Doug Watkins and Art Taylor released in April 1958 by Prestige Records. It was later reissued on New Jazz Records in 1964. On a small number of reissues, it is credited to "The Prestige All Stars", a name used by Prestige for various combinations of musicians who were under contract to the label. The compact disc reissue adds two alternate takes that did not appear on the initial vinyl releases.
Lucky Oceans is an American pedal steel guitarist and a former member of country and Western swing band Asleep at the Wheel. From 1995 to 2017 he was a broadcaster in Perth, Western Australia with the Australian Broadcasting Corporation.
"Miles and Miles of Texas" is a song originally recorded by Jim McGraw And The Western Sundowners in 1961. It was used as the B-side of their single, "Crazy Dreams."
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.
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.
10 is the ninth studio album 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'.
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.
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 26 studio albums, 16 live albums, 21 compilation albums, seven extended plays (EPs), 40 singles, four video albums and 19 music videos.