A Place Called Love

Editorial Reviews

All Music Guide - Alexey Eremenko
Though still sporting the tag of country artist -- and offering just enough tunes to justify it -- Johnny Reid actually delves into blues and gospel in the Joe Cocker vein on A Place Called Love. The opening track utilizes a token fiddle, but the stuff that follows is more likely to utilize a brass section instead -- you can hear it in the choruses of at least half a dozen songs, together with waves of female backing vocals, just how Mr. Cocker likes to be doing it. Oddly enough, it's Reid's strong but rugged and down-to-earth vocals that have the most explicit country vibe on A Place Called Love -- he does justice to the bluesy melodies he tackles, but it's ...
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Editorial Reviews

All Music Guide - Alexey Eremenko
Though still sporting the tag of country artist -- and offering just enough tunes to justify it -- Johnny Reid actually delves into blues and gospel in the Joe Cocker vein on A Place Called Love. The opening track utilizes a token fiddle, but the stuff that follows is more likely to utilize a brass section instead -- you can hear it in the choruses of at least half a dozen songs, together with waves of female backing vocals, just how Mr. Cocker likes to be doing it. Oddly enough, it's Reid's strong but rugged and down-to-earth vocals that have the most explicit country vibe on A Place Called Love -- he does justice to the bluesy melodies he tackles, but it's nevertheless hard to shake the image of a guy in a Stetson wooing his sweetheart through his songs in the countryside. Just to warp things some more, Reid also throws in a clear reggae influence on a couple of tracks, all without changing the singing style. Still, he returns to the roots in the latter half of the album, filled with more fiddle, banjo, slow quiet balladry, and soft rock guitar textures, and actually sounds more comfortable there. The end result presents a moderately disorderly jumble of influences, but counts as a proper, if not exactly hit-laden, adult contemporary record -- even more so since Reid's vocals actually sound uncannily like a stand-in for Bernie Shaw of latter-day Uriah Heep who traded old-school hard rock for something more mellow, and got the good end of the bargain.
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Product Details

  • Release Date: 8/30/2010
  • Label: Emi Import
  • EAN: 5099964230221
  • Catalog Number: 6423022
  • Sales rank: 92,214

Album Credits

Performance Credits
Johnny Reid Primary Artist
Eddie Bayers Drums
Richard Bennett Bouzouki, Electric Guitar
Everett Drake Background Vocals
Dan Dugmore Pedal Steel Guitar
Vicki Hampton Background Vocals
Jim Hoke Baritone Saxophone
Sam Levine Alto Saxophone, Baritone Saxophone, Tenor Saxophone
Brent Mason Acoustic Guitar, Electric Guitar
Gordon Mote Organ
The Nashville String Machine Strings
Steve Patrick Trumpet
Shandra Penix Background Vocals
Michael Rhodes Bass
Tammy Rogers Fiddle
Troy Taylor Background Vocals
Glenn Worf Bass
John Barlow Jarvis Organ, Piano, fender rhodes
Roy Agee Trombone
Mark Selby Acoustic Guitar, Electric Guitar, Classical Guitar
Kyle Harris Background Vocals
John Hinchey Trombone
Steve Herman Trumpet
Nir Z. Percussion, Drums
Ilya Toshinsky Acoustic Guitar, Electric Guitar, Ukulele
Steven Sheehan Acoustic Guitar
Jim Drury Bagpipes
Chris Patterson Steel Drums
Derrik Lee Background Vocals
Steve Fischel Trumpet
Technical Credits
Vicki Hampton Vocal Group
Jim Hoke Horn Arrangements
Sam Levine Horn Arrangements
Ken Love Mastering
Brent Maher Composer, Producer, Engineer, Horn Arrangements, Vocal Group
Mark D. Sanders Composer
Allen Shamblin Composer
D. Bergen White String Arrangements
John Barlow Jarvis Composer, Vocal Group
Brian Dean Maher Composer
Brian Maher Vocal Group
Mark Selby Composer
Tia Sillers Composer
Kevin Dailey Engineer
Antoine Moonen Graphic Design
Nir Z. Programming
Charles Yingling Engineer
Johnny Reid Composer
Sierra Noble Vocal Group
Gareth Dunlop Vocal Group
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