Easy listening arranger
Hugo Montenegro goes to Nashville and produces this not always successful hybrid, aided superbly by
Billy Sherrill and a host of Nashville's top session men, including
Harold Bradley and
Charles McCoy. The album is best when
Bradley's guitar or banjo takes the lead melody line, as it does on "Candy Kisses" and the charming "Crazy Arms." The same goes for
McCoy's harp. But when they're given a backseat and the string section comes up front, a little bit of life goes out of the thing.