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Take a guy who knows a lot about a song's merits, turn him loose in
a studio with enough of a budget to hire top musicians and engage
terrific harmony vocalists--and you'll get some striking results.
At least that's what happened in the case of Bill Wence, a veteran music man,
who today makes a decent living promoting other people's records.
For his own "California Callin'" CD (615 Records, 15022), the multi-talented
Wence has written or co-authored 11 ultra-romantic ballads--notably "Lady Lovin'
Night," "I'll Send My Love," "Runaway Romance," "You're the Best," "I'm Still
Lovin' You" and the exhilarating title track, among others--and transformed them into
smooth, mellow efforts boasting inventive arrangements.
Early in his career, pianist Wence got started musically out in California. Later, he
worked with such Nashville names as Bobby Bare and Tom T. Hall.
Actually, the latter inscribed some liner notes for us, in part: "You will enjoy
this long-awaited CD. I know it has been great for Bill to do this. He has honed
his perception of rhythm and rhyme over the years. Bill has certainly been exposed
to more music (good and bad) than the average bear--which leads me to remark that he worked with
Bobby Bare in Bare's formative years."
Like Hall, Bill Anderson or Lyle Lovett, Bill Wence is vocally a stylist,
who manages to convey sincerity and heartfelt feeling into his performances.
"California Callin'," which the Beach Boys could easily have charted during their
'60's heyday, has Wence and musical cohorts weaving melody and harmony into an effervescent,
solid beat. Not coincidentally, Adie Grey's input is a vocal plus on this winner.
Likewise, Americana princess Jonell Mosser lends her distinctive vocals to a few
numbers, including "Hold On," in which Wence senses she's leaving and begs for time
to get used to the pain before going: "I know that you're gonna leave/But goodbye's not
enough/Give me just a little time/That's all you gotta lose . . . "
"Break Away," not to be confused with the New Beats' 1965 hit of that title,
concerns a lovestruck fellow waiting to pick up the pieces, not unlike "Mrs. Stephen Rudy's"
smitten neighbor: "I can tell you/He's not lovin' you/When he's out on the town again . . .
Baby, break away/I'll be waiting for you/Take away the chains/And let me in . . . "
On the other hand, his "Quicksand" exposes a lover ensnared in a potentially fatal affair, lamenting,
"I'm helpless as can be/Since she put a hold on me . . . Her love is like quicksand/Closing
in on me . . . she feels so good/I know I'll never be free."
"This is a Hold Up," co-penned with Dan Willis (who also shares co-writer credit
on "California Callin'") is more of a stretch image-wise, but gets a bangup backing
instrumentally (from the crew assembled at Nashville's Creative Workshop) and vocally by Debra
Davis.
Kimmie and Gabe Rhodes also supply harmony vocals on "I'll Send My Love" and "I Wanna
Do It Again." The Musicians include, on guitars, Harold Bradley, Barry Byrd Burton,
Danny Parks; with Jeff (Stick) Davis on bass; Billy Earheart and John Rees on keyboards;
Michael Daly on steel guitar; Bryan Owings on drums; Holly Odell on fiddle and mandolin; and
Steve Larios on harp.
Back in the heyday of Patti Page, Guy Mitchell and Brenda Lee, Wence's words and music
wouldn't even be classified country, but would have been sure-fire pop. Whatever
the label pinned on "California Callin'," it's ideal for both listening and dancing pleasures.
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