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Chris Cagle|Chris Cagle

Chris Cagle

Chris Cagle

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Though there are moments when he's clearly trying a little too hard, Chris Cagle delivers a generally agreeable set on his sophomore release. There are a few problems: the extremely crisp production has almost too much presence and the artist and his musicians seem to be emoting about an inch in front of the listener's nose. And Cagle's writing leans too often on the creaky formula of hanging the song on the hook of a knee-slap punch line. This can work as long as the language feels natural, like something someone in the country demographic might actually say -- which is why "we're not growing old, we're growing love" misses the mark on "Growin' Love," for example. (Cagle's decision to rhyme "change" with "change" in the same song is even more awkward.) Elsewhere, though, his earnest, nasal singing and overall exuberance sell even the weaker material, and where he comes up with a writing gimmick that's actually fresh, such as the chronological breakdown of a happy relationship on "What a Beautiful Day," he hits a clean home run.

© Robert L. Doerschuk /TiVo

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Chris Cagle

Chris Cagle

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1
What A Beautiful Day (Final Version)
00:03:45

Hank Williams, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Monty Powell, Composer - Chris Cagle, Composer, Producer, MainArtist

(C) 2003 Capitol Records Nashville ℗ 2002 Capitol Records Nashville

2
Chicks Dig It (Single Edit)
00:03:30

Charlie Crowe, Composer - Doug Sax, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Chris Cagle, Composer, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

3
Look What I Found
00:04:06

Brett James, Composer - Doug Sax, Mastering Engineer, StudioPersonnel - Don Schlitz, Composer - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Chris Cagle, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

4
I Love It When She Does That
00:04:47

Doug Sax, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Monty Powell, Composer - Chris Cagle, Composer, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

5
Night On The Country
00:03:55

Doug Sax, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Monty Powell, Composer - Chris Cagle, Composer, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

6
I'd Be Lying
00:04:26

Doug Sax, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Chris Cagle, Composer, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel - David C. Banning, Composer

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

7
Everything
00:03:33

Frank Rogers, Composer - Doug Sax, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Chris Cagle, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

8
It Takes Two
00:05:13

Doug Sax, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Monty Powell, Composer - Chris Cagle, Composer, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

9
Growin' Love
00:05:09

Doug Sax, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Monty Powell, Composer - Chris Cagle, Composer, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

10
Just Love Me
00:05:07

Doug Sax, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Monty Powell, Composer - Chris Cagle, Composer, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

11
Look At What I've Done
00:04:55

Anna Wilson, Composer - Doug Sax, Mastering Engineer, StudioPersonnel - Robert Wright, Producer, Editor, Engineer, StudioPersonnel - Craig White, Mixer, Editor, Engineer, StudioPersonnel - Monty Powell, Composer - Chris Cagle, Composer, Producer, MainArtist - Robert Hadley, Mastering Engineer, StudioPersonnel

(C) 2003 Capitol Records Nashville ℗ 2003 Capitol Records Nashville

Albumbeschreibung

Though there are moments when he's clearly trying a little too hard, Chris Cagle delivers a generally agreeable set on his sophomore release. There are a few problems: the extremely crisp production has almost too much presence and the artist and his musicians seem to be emoting about an inch in front of the listener's nose. And Cagle's writing leans too often on the creaky formula of hanging the song on the hook of a knee-slap punch line. This can work as long as the language feels natural, like something someone in the country demographic might actually say -- which is why "we're not growing old, we're growing love" misses the mark on "Growin' Love," for example. (Cagle's decision to rhyme "change" with "change" in the same song is even more awkward.) Elsewhere, though, his earnest, nasal singing and overall exuberance sell even the weaker material, and where he comes up with a writing gimmick that's actually fresh, such as the chronological breakdown of a happy relationship on "What a Beautiful Day," he hits a clean home run.

© Robert L. Doerschuk /TiVo

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