In the tradition of country singer/songwriters such as
Kevin Welch and
Hal Ketchum,
Owen Temple doesn't exactly fit the typical Stetson-wearing modern country artist, but isn't far from such a polished crossover sound. "Accidentally Break My Heart" exemplifies this trait, a typical three-minute country song suited for radio. But "Burning Too Hot to Last" has more of a rebellious, outlaw quality to it that wouldn't fit well along Music Row. Producer
Phil Madeira is quite vital to the album. Using everything from accordions to pedal steel guitar,
Madeira definitely creates a fuller sound for the listener. The songs, though, are only as strong as the lyrics, and fortunately
Temple rarely errs. "Little Sweet Loss" has
Temple at the forefront and on top of his game. But the blues rumble on "This Ain't Las Vegas" doesn't work at all. Resembling a track that
Bonnie Raitt would leave on the cutting room floor, the song is a bit bland despite the change of style. "Move Around Money" is a similar idea, but works infinitely better with a relaxing backbeat in the shadows. Name-dropping various companies and products doesn't necessarily damage the tune, but it could be improved lyrically with some simple alterations.
Temple proves he has a wealth of potential on the straightforward traditional honky tonk of "Before the Night Becomes the Dawn." Building slowly over its nearly five minutes, the harmonies, mandolin, and pedal steel guitar all share leading roles. However, there are a few songs that tend to overlap and almost duplicate each other, notably "Trouble With You" and "The Madder You Are (The Cuter You Get)." The gospel-tinged "Faith Without Works" is another sonic curve, but works well given its nature.