Waitin' on Sundown

Performer: Brooks & Dunn
Distributor: Gotham Distributing Corp.

Notes: Brooks & Dunn: Kix Brooks, Ronnie Dunn (vocals). Additional personnel: Mark Casstevens (acoustic guitar); Bruce Bouton (steel guitar, lap steel); Brent Mason (electric guitar); Rob Hajacos (fiddle); John Jarvis (piano, B-3 organ); Glen Worf (bass); Lonnie Wilson (drums, percussion); Dennis Wilson, John Wesley Ryles, Harry Stinson, Bill LaBounty (background vocals). Recorded at Soundshop Recording Studios, Nashville, Tennessee and Castle Recording Studios, Franklin, Tennessee. "You're Gonna Miss Me When I'm Gone" was nominated for a 1996 Grammy Award for Best Country Performance By A Duo Or Group With Vocal. As their hard-charging opening cut, "Little Miss Honky Tonk," makes amply clear, Kix Brooks and Ronnie Dunn have perfected a fresh, engaging new brand of roadhouse music with a Nashville spit shine. WAITIN' ON SUNDOWN reprises the hard driving, chicken fried sound that has made Brooks & Dunn among the most popular acts to burst on the country scene in recent memory. With their canny blend of Southern rock, traditional country, and sh*t-kickin' Southwestern boogie, WAITIN' ON SUNDOWN promises to join Brooks & Dunn's two previous efforts on the top of the pop and country charts. The band's versatility is their strong suit. A song like "Silver And Gold" takes your basic cheatin'-heart, we've-gone-wrong country subtext and enlivens it with fat, Dire Straits-like production values, and Brooks & Dunn's distinctive vocal harmonies. "I'll Never Forgive My Heart" draws upon a traditional Conway Twitty "Hello, Darlin'"-style spoken intro for this nostalgic tale of self-recrimination and broken hearts. Elsewhere, Brooks & Dunn celebrate the verities of hard drivin' ("A Few Good Rides Away," "My Kind Of Crazy"), hard drinkin' ("Whiskey Under The Bridge") and mornings after ("You're Gonna Miss Me When I'm Gone"), generally enlivened by crunching Telecaster breaks and sweet pedal steel obligatos. The down home party reverie of WAITIN' ON SUNDOWN reflects the realities and aspirations of working men and women, their tensions and their hellbent release. That sense of celebration is what drives Brooks & Dunn's music. As their hard-charging opening cut, "Little Miss Honky Tonk," makes amply clear, Kix Brooks and Ronnie Dunn have perfected a fresh, engaging new brand of roadhouse music with a Nashville spit shine. WAITIN' ON SUNDOWN reprises the hard driving, chicken fried sound that has made Brooks & Dunn among the most popular acts to burst on the country scene in recent memory. With their canny blend of Southern rock, traditional country, and sh*t-kickin' Southwestern boogie, WAITIN' ON SUNDOWN promises to join Brooks & Dunn's two previous efforts on the top of the pop and country charts. The band's versatility is their strong suit. A song like "Silver And Gold" takes your basic cheatin'-heart, we've-gone-wrong country subtext and enlivens it with fat, Dire Straits-like production values, and Brooks & Dunn's distinctive vocal harmonies. "I'll Never Forgive My Heart" draws upon a traditional Conway Twitty "Hello, Darlin'"-style spoken intro for this nostalgic tale of self-recrimination and broken hearts. Elsewhere, Brooks & Dunn celebrate the verities of hard drivin' ("A Few Good Rides Away," "My Kind Of Crazy"), hard drinkin' ("Whiskey Under The Bridge") and mornings after ("You're Gonna Miss Me When I'm Gone"), generally enlivened by crunching Telecaster breaks and sweet pedal steel obligatos. The down home party reverie of WAITIN' ON SUNDOWN reflects the realities and aspirations of working men and women, their tensions and their hellbent release. That sense of celebration is what drives Brooks & Dunn's music.

Q (1/95, p.246) - 3 Stars - Good - "...Coming from the rockier side of the tracks, they write most of their own tunes, bounce their vocals off one another with practiced ease and actually sound like they're enjoying themselves, especially on [the] high-stepping stuff..." Q (1/95, p.246) - 3 Stars - Good - "...Coming from the rockier side of the tracks, they write most of their own tunes, bounce their vocals off one another with practiced ease and actually sound like they're enjoying themselves, especially on [the] high-stepping stuff..." Mojo (Publisher) (1/95, p.111) - "...Brooks & Dunn keep up their mix of modern dancefloor beats and Eagles harmonies...despite their rather plastic image, they can still toss off a charming two-step like 'If That's The Way You Want It'." Mojo (Publisher) (1/95, p.111) - "...Brooks & Dunn keep up their mix of modern dancefloor beats and Eagles harmonies...despite their rather plastic image, they can still toss off a charming two-step like 'If That's The Way You Want It'."

One of the most successful duos in country music history, Kix Brooks and Ronnie Dunn were put together in the early 1990s by former Arista Nashville label boss Tim DuBois, who thought the two singer-songwriters' styles would complement each other. The duo's sound--a mix of country harmonies, pop, rock and honky-tonk--made them superstars in the '90s, where they dominated the Vocal Duo category at every awards show. After two decades of success, both with the critics and on the charts, the duo broke up in 2009.

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