Pontiac

Pontiac

5.0 2
by Lyle Lovett
     
 

In 1987, Lyle Lovett was a quizzical figure that Nashville couldn't quite fathom. He wore a dark business suit and tie instead of sprayed-on jeans and a hat, employed a jazzy horn section instead of fiddles, and as for that "Eraserhead" haircut -- well, who in Nashville knew what the hell "Eraserhead" was? PONTIAC, like its predecessor, LYLESee more details below

Overview

In 1987, Lyle Lovett was a quizzical figure that Nashville couldn't quite fathom. He wore a dark business suit and tie instead of sprayed-on jeans and a hat, employed a jazzy horn section instead of fiddles, and as for that "Eraserhead" haircut -- well, who in Nashville knew what the hell "Eraserhead" was? PONTIAC, like its predecessor, LYLE LOVETT, was greeted with a collective Music City shrug, yet the rest of the world slowly caught on, thanks to Lovett's genre-bending material, which is by turns sly, ironic, and unsettlingly direct. Few performers could turn a topic such as a wedding that ends in double murder or a surreal seagoing horseback rider to their advantage, but that's what Lovett accomplishes on "L.A. County" and "If I Had a Boat," respectively. While "She's No Lady" and "She's Hot to Go" earned Lovett charges of misogyny, the songs are at least as self-deprecating as they are chauvinistic. Few, however, could miss the humor of "Give Back My Heart" or the grim minimalism of the title track. PONTIAC is one of several first-rate Lovett albums, but it's the one that first made plain his unique wit and ear.

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Editorial Reviews

All Music Guide - Mark Deming
While Lyle Lovett's self-titled debut album made it clear he was one the most gifted and idiosyncratic talents to emerge in country music in the 1980s, his follow-up, 1987's Pontiac, took the strengths of his first disc and refined them, and the result was a set whose sound and feel more accurately reflected Lovett's musical personality. While much of Pontiac favors the country side of Lovett's musical personality, the bouncy swing of "Give Back My Heart" and the weepy stroll of "Walk Through the Bottomland" have a lighter touch that suits them noticeably better than the stiffer production and arrangements of the first album, while the breezy snap of "L.A. County" serves as a perfect contrast to the tune's violent dénouement. The second half of the album gives Lovett a chance to indulge his fondness for jazz and blues flavors on the cynical "She's No Lady," "M-O-N-E-Y," and "She's Hot to Go," and if Lovett would follow this path with great musical success on his next few albums, he was already traveling in the right direction and the songs and the arrangements are aces. And it's all but impossible to imagine anyone being given a big push by a major label in Nashville who could get away with the fanciful whimsy of "If I Had a Boat" and the stark and unsettling character sketch of "Pontiac" on the same album. If Lyle Lovett left any doubts at all about this man's gifts as a performer and songwriter, Pontiac proved that he had even more tricks up his sleeve than he'd let on first time out, and it's the first of several masterpieces in Lovett's career.

Product Details

Release Date:
10/25/1990
Label:
Mca Nashville
UPC:
0076744202826
catalogNumber:
42028

Tracks

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Album Credits

Performance Credits

Lyle Lovett   Primary Artist,Acoustic Guitar,Vocals
Emmylou Harris   Vocals,Background Vocals
Edgar Meyer   Bass,Double Bass
Matt Rollings   Synthesizer,Piano,DX-7
Billy Williams   Acoustic Guitar,Rhythm Guitar
Paul Franklin   Steel Guitar
Vince Gill   Guitar,Vocals,Background Vocals
John Hagen   Cello
Ray Herndon   Guitar,Electric Guitar
Steve Marsh   Saxophone
Matt McKenzie   Bass
Francine Reed   Vocals,Background Vocals
J. David Sloan   Vocals,Background Vocals
Harry Stinson   Drums,Background Vocals

Technical Credits

Lyle Lovett   Producer
Tony Brown   Producer
Glenn Meadows   Mastering
Willie Pevear   Engineer
Steve Tillisch   Engineer
Ron Treat   Engineer
Simon Levy   Art Direction

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