Leave the Light On (CD - 2006)

Personnel: Jeff Bates (acoustic guitar, electric guitar); Jeff Bates; David Grissom, Brent Mason (electric guitar); Eric Darken, Casey Wood (percussion); Chip Davis, Cindy Walker, Dennis Wilson , Wes Hightower, Liana Manis, Perry Coleman (background vocals); Scott Neubert, Billy Panda (acoustic guitar); Joe Spivey (fiddle); Kyle Lehning, Tony Harrell (keyboards); Chad Cromwell (drums); Kenny Beard (background vocals); Dan Dugmore.

Audio Mixer: Kyle Lehning.

Recording information: 815 Studio; Bayou Recording; Cowboys, Dothan, AL; Ocean Way Nashville Recording Studios; Westwood Studios.

Photographer: Russ Harrington.

LEAVE THE LIGHT ON is the sophomore release by country-pop artist Jeff Bates. Bates moves a little more toward traditional country territory on this album, with a tight backing band and a lean, occasionally rollicking sound. The young artist still loves his cheesy sentimental ballads (as evidenced by the album's lead-off single "Long Slow Kisses"), but his beautifully rich baritone croon makes them more than bearable. All in all, this is a fine follow-up release full of admirable writing and performances.

On his second album, Leave the Light On, Jeff Bates remains an appealing singer, blessed with a smooth, deep baritone that gives his music an earthiness even when it gets a little bit sappy. But if his 2003 debut, Rainbow Man, leaned heavily on love songs, this 2006 effort is a leaner, straight-ahead traditionalist country record. Each cut has a bit of grit in it, whether it's on the rollicking, twangy "Good People," George Jones-styled barroom weepers like "The Woman He Walked On," or even a cover of Billy "Crash" Craddock's early-'70s hit "Rub It In," a greasy slice of Southern soul 'n' country that for most 2006 listeners will unfortunately bring to mind Glade's Plug It In, Plug It In campaign of the '90s, yet it's a testament to Bates' strengths as a vocalist that he makes this song work despite that association. Not that he pulls off every song here -- the opening cut (and lead single) "Long Slow Kisses" stumbles in its attempts at seduction, while the closer, "Mama Was a Lot Like Jesus," is unbearably heavy-handed and mawkish -- but even when the songs don't work, Bates and his studio band sound good, helping to make Leave the Light On a strong sophomore release from this skilled singer. ~ Stephen Thomas Erlewine minimize