Western Standard Time | ||||
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Studio album by | ||||
Released | August 2, 1988 | |||
Recorded | 1988 | |||
Studio |
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Genre | ||||
Length | 31:44 | |||
Label | Epic | |||
Producer | Ray Benson | |||
Asleep at the Wheel chronology | ||||
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Singles from Western Standard Time | ||||
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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.
Asleep at the Wheel remained with Epic following the commercial success of its 1987 ninth studio album 10 , which reached the top 20 of the US Billboard Top Country Albums chart and spawned four charting singles. After one lineup change, Jon Mitchell taking over from bassist David Dawson, the group recorded the album's follow-up in 1988. The first two singles from Western Standard Time – "Walk on By" and "Hot Rod Lincoln" – registered on the Billboard Hot Country Singles chart.
Western Standard Time received mixed reviews from critics. Several commentators praised the band's choice of songs to record on the album, which were described as "fun" and "light-hearted". However, other writers criticised the lack of original compositions and dismissed the cover versions as merely "novelties". The album was Asleep at the Wheel's fourth release to reach the top 40 of the Billboard Top Country Albums chart, peaking at number 34 and selling over 100,000 copies.
Following the release and touring in promotion of 10 , bassist David Dawson was replaced by Jon Mitchell in the summer of 1988. [1] He made his debut for the band on Western Standard Time, which was released by Epic in the first week of August 1988. [2] The album's recording of Leroy Van Dyke's "Walk on By" was issued as its first single in June, reaching number 57 on the US Billboard Hot Country Singles chart. [3] "Hot Rod Lincoln", originally recorded by Arkie Shibley, followed in October and peaked at number 65 on the chart. [4] "Chattanooga Choo Choo" was issued as the final single from the album in March 1989. [5]
Western Standard Time debuted on the US Billboard Top Country Albums chart at number 57 in September 1988. [6] The following month, it peaked at number 34. [7] The album reached number 36 on the Cash Box equivalent chart. [8] Western Standard Time reportedly sold approximately 100,000 copies. [9]
Review scores | |
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Source | Rating |
AllMusic | [10] |
Tom Hull – on the Web | B+ ( ) [11] |
Media response to Western Standard Time was generally positive. Chicago Tribune columnist Jack Hurst wrote that "This is the kind of sound that gets your blood racing-and in a most pleasurable, nostalgic kind of way," praising the band's "individualistic renditions of 10 oldies but goodies". [12] British publication Music Week described the collection as an "undemandingly pleasant album of standards of the [country] genre", [13] while the Detroit Free Press dubbed it "Fabulous, light-hearted stuff for retro fans." [14] Similarly, New York Daily News published a review stating that "It's like plugging in a 1940s jukebox ... a Saturday-night sound that's both rowdy and respectful." [15] AllMusic's Mark A. Humphrey gave the album four and a half out of five stars and simply wrote, "Nicely done Western standards." [10]
Billboard magazine agreed that "[the] album does well resurrecting such light fare as "Chattanooga Choo Choo," "Hot Rod Lincoln," and "That's What I Like About The South,"" but retorted with the claim that "it flops in trying to revive "That Lucky Old Sun," "Walk On By," and other serious numbers." [16] The Asbury Park Press shared a concern along similar lines, but criticised the "shameless novelty tunes" (including "Chattanooga Choo Choo" to "Hot Rod Lincoln") as "embarrassing", and hailed the "reworked country classics" (such as "Walk on By" and "Walking the Floor Over You") as "a lot of fun". [17] A review in the Pottsville Republican was similarly mixed, admitting the album had "limitations" but praising several of its songs. [18]
Western Standard Time earned Asleep at the Wheel its third Grammy Award, and the third for Best Country Instrumental Performance, which it won for "Sugarfoot Rag". [19]
No. | Title | Writer(s) | Length |
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1. | "Chattanooga Choo Choo" (originally recorded by Glenn Miller and His Orchestra ) | 3:17 | |
2. | "Don't Let Go" (originally recorded by Jesse Stone ) | Jesse Stone | 3:01 |
3. | "Hot Rod Lincoln" (originally recorded by Arkie Shibley and His Mountain Dew Boys ) |
| 2:55 |
4. | "That's What I Like 'Bout the South" (originally recorded by Bob Wills and His Texas Playboys ) | Andy Razaf | 2:35 |
5. | "That Lucky Old Sun (Just Rolls Around Heaven All Day)" (originally recorded by Vaughn Monroe and His Orchestra ) | 3:50 | |
6. | "Walk on By" (originally recorded by Leroy Van Dyke ) | Kendall Hayes | 2:48 |
7. | "San Antonio Rose" (originally recorded by Bob Wills and His Texas Playboys) | Bob Wills | 4:01 |
8. | "Roly Poly" (originally recorded by Bob Wills and His Texas Playboys) | Fred Rose | 3:10 |
9. | "Sugarfoot Rag" (originally recorded by Hank Garland ) |
| 3:40 |
10. | "Walking the Floor Over You" (originally recorded by Ernest Tubb ) | Ernest Tubb | 2:27 |
Total length: | 31:44 |
Asleep at the Wheel
Guest musicians
| Production personnel
Additional personnel
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Chart (1988) | Peak position |
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US Hot Country LPs ( Billboard ) [7] | 34 |
Asleep at the Wheel is an American Western Swing music group that was formed in Paw Paw, West Virginia in 1970, and is based in Austin, Texas. The band has won nine Grammy Awards, 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.
"Choo Choo Ch'Boogie" is a popular song written by Vaughn Horton, Denver Darling, and Milt Gabler.
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 Studio B 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 Recording Studio in Nashville, Tennessee, it was released in August 1975 as the group's first album on Capitol Records. 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 Records. 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 Records. 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 Records. 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 Records. 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.
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'.
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, 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 Very Best of Asleep at the Wheel is the 16th studio album by American country band Asleep at the Wheel. Recorded at Bismeaux Studio in Austin, Texas and Bradley's Barn in Mount Juliet, Tennessee, it was produced by the band's frontman Ray Benson and released on June 5, 2001, by Relentless Nashville, an imprint of Madacy Entertainment Group. The album was issued in the United Kingdom in 2003 by Evangeline Records under the title Take Me Back to Tulsa.
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.