When You Hurt Me More Than I Love You (J. Foster) 2/09
Don't Leave The Leaving Up To Me (L. Anderson) 2:18
Good(G. Sutton/B. Sherrill) 2; 19
True Love's A Blessing(S. James/C. Smith) 2:14
I'd Run A Mile To You (G. Sutton/M. Curtis) 2:19
Honey Come Back (J. Webb) 2;j-o
Fancy (B. Gentry) 3:13
Someday Soon (I. Tyson) 2/76
The attractive blonde on the cover needs no introductions. The friendly, smiling face . . . the happy, infectious personality . . . the hard-working artiste who possesses a voice that can tackle all manner of material ... all these qualities have been well known to country enthusiasts for a number of years but, since the early seventies, register just as instantly to mass popular music audiences throughout the world.
Lynn Anderson has been part of the recording business since the mid-sixties and, right from the start, had no trouble in delighting the country music fraternity. Then, in late 1970, had the good fortune to come across the song that would catapult the Anderson name to universal appeal.
There's very little need to elucidate upon the 'Rose Garden' success story: you can count it as common knowledge that the
record first topped the U.S. country charts, next the U.S. pop charts - and then continued to blast similar successful courses in many countries throughout the world. In the British Isles the story was no different and Lynn, a complete unknown to pop record buyers, fought off all other contenders in the fast race up the charts.
Most of all, though, 'Rose Garden' introduced a dynamic new entertainer to world horizons ... an artiste who sang country music but possessed the versatility and vocal strength to win over audiences from all other musical realms.
This album - 'Country Girl' - pinpoints Lynn's musical talents to the finest detail. The title, in itself, provides an accurate description of the artiste whilst the lyrics of the-title track brilliantly observe the sentiments shared by many country music entertainers. The preference for uncomplicated city life as opposed to the hustle - and often, the loneliness - of the big city. In Lynn Anderson's case the song expounds the love of the great outdoors - the views of a country girl who turns regularly to horseriding, a pastime that has brought her numerous awards and trophies in the past, as the greatest relaxation to her fast paced show business career.
From the beginning Lynn Anderson had a couple of things going for her. A childhood raised in Sacramento, California, in which music featured as a constant pleasure, and her parents - Liz and Casey Anderson - who, as Lynn reached her early teens, gained the reputation as outstanding country music writers. In fact it was the Liz Anderson song 'Strangers' - the number that put Merle Haggard on the country map - that brought the Anderson clan to the 1966 Nashville Disc Jockey Convention to collect a BMI Award. Whilst there, besides securing the Award, both Liz and Lynn also gained recording contracts.
At the age of sixteen Lynn Anderson hit recording success almost immediately and "Ride Ride Ride', 'Big Girls Don't Cry' and 'If I Kiss You' are just three of the titles that struck favour with country audiences during the course of the late sixties.
In 1970, with well over a dozen hit titles to her credit, Lynn Anderson came over to the CBS country music roster and, right away, scored with "Stay There 'Til I Get There', a number penned by her record producing husband Glenn Sutton. The rest of the story is well familiar: Lynn's albums and singles speak for themselves in musical terms - and world wide sales.
It's easy to evaluate her success when listening to the eleven tracks contained within this release. Lynn possesses the power to communicate with her audiences. It's heard through the way that her crystal clear voice handles lyrics and the range of material that instantly appeals to all listeners. Besides the obvious basic country songs like "Stay There 'Til I Get There' and "True Love's A Blessing', Lynn has the ability to cover wider spectrums that include the beautifully appealing Gibbs Brothers' composition 'Words' and lan Tyson's folk orientated 'Someday Soon'. Yet all tracks are framed in the same superior musicianship that surrounds the Nashville recording sessions.
But why say more - the proof is contained within the tracks. 'Country Girl' Lynn Anderson has a complete musical scene batting for her... and it'll please a lot of people. TONY BYWORTH
Record Mirror - Country Music People