Personnel includes: Gary Stewart (vocals); Kenny Bell, Chip Young, Dino Zimmerman, Biff Watson, Bill Hulet (acoustic guitar); Dale Sellars, Reggie Young (electric guitar); Warren Hayes (slide guitar); Sonny Garrish, Steve Hinson, Paul Franklin (steel guitar); Hank Singer (fiddle); Charlie McCoy (harmonica); Fred Bogert (keyboards); Larry Paxton, Harold Bradley (bass); Jerry Kroon, Milton Sledge (drums); Buddy Cannon, Carla Hunter, Kim Morrison, Tracy Nelson (background vocals).
Engineers include: Bill Harris, Larry Cummings, Joe Funderburk.
Recorded at Music City Music Hall, Creative Workshop, House Of David, Studio C, Nashville, Tennessee.
All tracks have been digitally remastered.
Personnel: Chip Young, Biff Watson, Kenny Bell, Dino Zimmerman (acoustic guitar); Dale Sellars, Reggie Young (electric guitar); Warren Haynes (slide guitar); Paul Franklin , Sonny Garrish, Steve Hinson (steel guitar); Hank Singer (fiddle); Charlie McCoy (harmonica); David Briggs (piano); Fred Bogert (keyboards); Harold Bradley (bass guitar); Jerry Kroon, Milton Sledge (drums); Carla Hunter, Kim Morrison, Tracy Nelson, Buddy Cannon (background vocals).
Recording information: Creative Workshop, Nashville, TN; House Of David, Nashville, TN; Music City Music Hall, Nashville, TN; Studio C, Nashville, TN.
Gary Stewart has never fit comfortably into anyone's preconceptions about what a country singer should be. With a voice like Jerry Lee Lewis fed through a tremolo effect, and a hard-hitting approach to barroom ballads, Stewart has never been a part of any movement but very much his own man. He recorded for various labels earlier in his career, with varying success, but by the time he landed at indie haven Hightone, the renegade found just the right home, and this collection of latter-day recordings is uncommonly consistent. "Brand New Whiskey" demonstrates Stewart's ability to wring new variations on the time-tested format of the drinking song. "Nothin' But a Woman" flirts with southern rock courtesy of Warren Haynes's slide guitar. "I Get Drunk" is a humor-filled, self-penned tune full of self-effacement, while Stewart's take on Johnny Horton's rockabilly hit "Honky Tonk Hardwood Floor" is successfully updated without sounding overly modernized. Stewart's gift is in subtly twisting the conventions of country music to fit his own wonderfully skewed vision, a gift which is presented in abundance on this collection.