The Chase [Bonus Track] (CD - 1992)

Personnel: Garth Brooks, Trisha Yearwood (vocals); Mark Casstevens (acoustic guitar); Chris Leuzinger (electric guitar); Bruce Bouton (steel guitar); Rob Hajacos (fiddle); Denis Solee (clarinet); Bobby Wood (piano, keyboards); Mike Chapman (bass); Milton Sledge (drums, percussion); Donna McElroy, Vicki Hampton, Yvonne Hodges, Debbie Nims, Gary Chapman, Howard Smith, Johnny Cobb (background vocals).

The Nashville String Machine: John Catchings, David Davidson, Conni Ellisor, Carl Gorodetzky, Lee Larrison, Ted Madsen, Robert Mason, Laura Molyneaux, Craig Nelson, Pamela Sixfin, Christian Teal, Alan Umstead, Gary Vanosdale, Kristin Wilkinson.

Recorded at Jack's Tracks Recording Studio, Nashville, Tennessee.

Digitally remastered by Denny Purcell (Georgetown Masters, Nashville, Tennessee).

Personnel: Garth Brooks (vocals, guitar, background vocals); Jess Leary (vocals, acoustic guitar, percussion); Ty England (vocals, acoustic guitar); James Garver (vocals, electric guitar, percussion); Betty Smittle (vocals); Mark Casstevens (acoustic guitar); Steve McClure (electric guitar, steel guitar); Chris Leuzinger (electric guitar); Bruce Bouton (steel guitar, lap steel guitar); Dave Gant (fiddle, keyboards); Rob Hajacos (fiddle); Connie Ellisor, Laura Molyneaux, Christian Teal, Ted Madsen, John Catchings, Kristin Wilkinson, Robert Mason , Craig Nelson , Carl Gorodetzky, Pamela Sixfin, David Davidson , Lee Larrison, Alan Umstead, Gary VanOsdale, Charles Cochran (strings); Bobby Wood (piano, keyboards); Mike Palmer, Milton Sledge (drums, percussion); Donna McElroy, Howard Smith , Debbie Nims, Gary Chapman , Johnny Cobb, Trisha Yearwood, Vicki Hampton, Yvonne Hodges (background vocals).

Recording information: Jack's Tracks Recording Studio, Nashville, TN.

Photographer: Beverly Parker.

Unknown Contributor Role: Ted Madsen.

Arranger: Charles Cochran.

The Chase is Garth Brooks' most ambitious and personal album. Not coincidentally, it is one of his least popular releases, selling about half of what the previous Ropin' the Wind had. But in its own way, The Chase is more rewarding and deeper than Ropin' the Wind. That's partially due to Brooks' naked ambition; not only does he record "We Shall Be Free" with a gospel choir, but he tackles deeper social and personal issues than he has before. However, the true key to the album is Brooks' conviction; even when his musical experiments don't quite work, it's easy to admire and respect his ambition. Although there are light moments like "Night Rider's Lament" and a cover of Little Feat's "Dixie Chicken," The Chase is a more somber, reflective record than his previous three albums; but given a bit of a time, it's as satisfying as anything he's ever recorded. ~ Stephen Thomas Erlewine

He's as big as big gets, and this album is one of the main reasons why: THE CHASE redefined the term "crossover" for the man in the hat and for the new breed of pop radio-friendly country crooners to follow in his chart-busting footsteps. Filled with hit after hit, THE CHASE reads like a primer for the New Country format. Though it maintains a general adherence to the Country tradition behind it, the album boasts a slickness of production and songcraft that have kept Rolls Royce dealers in Nashville busy ever since.

From the opening piano-and-vocal intro of the anthemic "We Shall Be Free," THE CHASE is borne aloft by Brooks's crystal-clear vocals. Whether dipping into the tender strains of "Somewhere Other Than The Night" or swaggering through the pure country stomp of "Dixie Chicken," Brooks maintains an inspiring control over his instrument. Instantly engaging, his delivery is inspiring in both its precision and its honesty--truly a rare combination. Rounding out this stylistic tour de force, THE CHASE closes out with the one-two punch of the bittersweet "Night Rider's Lament" and the stirring "Face To Face."

The Chase is Garth Brooks' most ambitious and personal album. Not coincidentally, it is one of his least popular releases, selling about half of what the previous Ropin' the Wind had. But in its own way, The Chase is more rewarding and deeper than Ropin' the Wind. That's partially due to Brooks' naked ambition; not only does he record "We Shall Be Free" with a gospel choir, but he tackles deeper social and personal issues than he has before. However, the true key to the album is Brooks' conviction; even when his musical experiments don't quite work, it's easy to admire and respect his ambition. Although there are light moments like "Night Rider's Lament" and a cover of Little Feat's "Dixie Chicken," The Chase is a more somber, reflective record than his previous three albums; but given a bit of a time, it's as satisfying as anything he's ever recorded. [Brooks re-released the album in 2000, adding the track "Something With a Ring to It."] ~ Stephen Thomas Erlewine minimize