Restless

Personnel: Sara Evans (vocals); Marcus Hummon, Biff Watson (acoustic guitar); J.T. Corenflos, Troy Lancaster (electric guitar); Gary Morse (steel guitar, dobro); Bryan Sutton (banjo); John Mock (penny whistle); Peter Kevin Fisher (harmonica); Timothy Lauer (accordion); Barry Green, Mike Haynes (horns); Steve Nathan (piano); John Hobbs (Hammond B-3 organ); Michael Rhodes, Glenn Worf (bass); Matt Chamberlain (drums); David Huff (shakers, percussion, programming); Eric Darken (percussion, programming); Vince Gill, Wes Hightower (background vocals).
Principally recorded at The Money Pit, Nashville, Tennessee.
Personnel: Sara Evans (background vocals); Paul Worley (acoustic guitar, electric guitar); James Darrell Scott (acoustic guitar, dobro, bouzouki, mandolin); Marcus Hummon (acoustic guitar, mandolin); Biff Watson (acoustic guitar); Jerry McPherson, Troy Lancaster, J.T. Corenflos (electric guitar); Gary Morse (steel guitar, dobro); Bryan Sutton (banjo, mandolin); Jonathan Yudkin (celtic harp, cello); Aubrey Haynie (fiddle); The Nashville String Machine (strings); John Mock (pennywhistle, concertina); Peter Kevin Fisher (harmonica); Timothy J. Lauer (accordion); Samuel B. Levine, Mike Haynes , Jim Horn, Barry Green (horns); Steve Nathan (piano, keyboards); John Hobbs (Hammond b-3 organ, keyboards); Matt Chamberlain (drums); David Huff (shaker, percussion, drum programming); Eric Darken (percussion, drum programming); Tom Roady, Glen Caruba (percussion); Ashley Evans Simpson, Lesley Evans Lyons, Robert Bailey, Ashlie Tucker, Troy Johnson, Hillary Lindsey, Adie Grey, Vicki Hampton, Vince Gill, Wes Hightower, Kim Fleming (background vocals).
Audio Mixer: Clarke Schleicher.
Recording information: LOUD Recording; Money Pit, Nashville, TN; paragon Studios.
Photographer: Jeff Lipsky.
While Sara Evans hasn't assimilated the rock-pop influence into her contemporary country sound to the same bold degree as someone like Shania Twain, she's certainly informed by those sensibilities. There are plenty of rootsy touches to the arrangements here to remind us that this is Nashville, not Hollywood, but the predominance of power ballads and the quality of Evans's big, belting voice suggest what might have happened if Pat Benatar had been a country girl. One can't help wondering, for instance, how conscious the lyrical nod to the Allman Brothers' "Ramblin' Man" might be in Evans's "Backseat of a Greyhound Bus." And once you've sunk your teeth into a big, juicy Diane Warren torch song like the epic production "Need to Be Next to You," you're on your way to pop divahood whether you like it or not.