Steppin' Stone (album)
Steppin' Stone is a studio album by American singer Marie Osmond. It was released in September 1989 by the Capitol and Curb record labels. It was Osmond's eighth studio album in her solo recording career. "Steppin' Stone" was a collection of ten tracks that were described as having a traditional country sound compared to her previous albums. Three singles were issued from "Steppin' Stone" that reached positions outside the US and Canadian country top 40: the title track, "Slowly But Surely" and "Let Me Be the First". The album was given positive reviews from critics.
Background and recording.
A part of her family's entertainment family, Marie Osmond formed her own career as a country music artist. As a teenager, her debut single "Paper Roses" was a chart-topping country single and a top five pop single. As she matured, she transitioned towards a film and television career but returned to the country recording industry in adulthood. In the middle 1980s (on Capitol Records), she had number one country singles with "Meet Me in Montana", "There's No Stopping Your Heart" and "You're Still New to Me". Osmond continued having charting singles through the end of the decade despite being less successful. Her next Capitol studio album was 1989's "Steppin' Stone". The project was recorded in May 1989 at three separate studios in the Nashville, Tennessee area: Castle Recording Studios, Music Mill Recording Studios and Omnisound Recording Studio. It was produced by Jerry Crutchfield. It was her first album project with Crutchfield serving as producer.
Content.
"Steppin' Stone" consisted of ten tracks. The album's traditional country sound was considered a departure from Osmond's previous releases. Charlotte Dillon of AllMusic described the album's material as being "about love lost, love found, love gone wrong, and the hope and wishes of love to be." "What Would You About You (If You Were Me)" and "What's in It for Me" were both co-written by Bucky Jones and Tom Shapiro. "If You Think About It, Call Me", was a track also written by Shapiro and was a second cut written by Michael Garvin. "What's a Little Love Between Friends" was co-written with Smokey Robinson. The final track "Let Me Be the First" was first cut by Deborah Allen for her 1984 album of the same name.
Release and critical reception.
"Steppin' Stone" was released in conjunction with Capitol Records and Curb Records in September 1989. It was distributed in three formats: a vinyl LP, a cassette and a compact disc. It was Osmond's eighth studio album as a solo artist and her fourth with the Capitol/Curb labels. It was later released decades later to digital retailers including Apple Music. The album was given positive reviews by critics and publications following its release. "Cashbox" magazine called the album "expertly produced" that allows Osmond's "true colors" to show through. "Billboard" found that Jerry Crutchfield provided Osmond with a different vocal delivery: "Under Crutchfield's guidance, Osmond sings with more than usual force and conviction."
"Radio & Records" did not highlight any specific songs or production techniques, but mentioned the album and wrote, "Today she is an in-demand live performer and continues to record stellar country albums." AllMusic's Charlotte Dillon gave "Steppin' Stone" four out of five stars and wrote, "Marie Osmond steps a little away from the pop-heavy country she normally leans toward, for a little more straight country sound."
Chart performance and singles.
"Steppin' Stone" debuted on the US "Billboard" Top Country Albums chart on November 18, 1989. It spent a total of six weeks there, reaching the number 68 position by December 2. It was Osmond's lowest-peaking album on the country chart. A total of three singles were spawned from "Steppin' Stone". Its first was the title track in August 1989. It later reached number 70 on the US Hot Country Songs chart and number 60 on the Canadian Country Tracks chart. In November 1989, "Slowly But Surely" was issued as the album's second single. It reached the number 75 position on the US country chart and number 52 on the Canadian country chart. "Let Me Be the First" was the final single released from the album and was issued by Capitol Records in circa early 1990. It failed to chart on the US country chart but reached number 75 on the Canadian country chart.
Personnel.
All credits are adapted from the liner notes of "Steppin' Stone".
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Meet Me in Montana
"Meet Me in Montana" is a song recorded by American country music artists Dan Seals and Marie Osmond. It was released in July 1985 as the lead-off single from Seals' album "Won't Be Blue Anymore", and the second single from Osmond's 1985 album "There's No Stopping Your Heart". The song was written by Paul Davis, who would later have a duet success of his own with Osmond, "You're Still New to Me."
"Meet Me in Montana" reached No. 1 on the "Billboard magazine" Hot Country Singles chart for one week in October 1985. The single was the first chart-topping hit for Seals, and Osmond's second No. 1 hit, her first to peak at the top of the chart since 1973's "Paper Roses".
When performed live in concert since Seals's death in 2009, Osmond's brother Merrill Osmond usually serves as the duet partner.
Content.
The song refers to two lovers who go their separate ways to pursue dreams; him, to be a country music star, and her to be a Hollywood actress. When both of them experience misery and failure, they decide that the best hope for their future is with each other, in Montana.
References.
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Back to the Night
Back to the Night is the second studio album by the British singer-songwriter Joan Armatrading. The album was released in April 1975 by A&M Records (AMLH 68305).
Musical background.
Musically, the album shows a development of the mood of Armatrading's first album "Whatever's for Us", and explores different aspects of her talent and musical leanings, as it encompasses elements of folk, jazz, calypso and up-tempo songs. Because of this a number of musicians were hired, so they could reflect the variety of styles Armatrading was coming up with.
The album features some experienced musicians, notably Jean Roussel, Colin Pincott, and Andy Summers. The album was promoted on tour with a six-piece jazz-pop group called The Movies.
General background.
Following the release of her debut album, "Whatever's for Us", a collaboration with lyricist Pam Nestor, Armatrading ended her contract with Cube Records and signed instead with A&M. "Back to the Night" was recorded in 1974 at Basing Street Studios, London; Morgan Studios, London; and Rockfield Studios, Monmouthshire. It was mixed at Basing Street Studios, London, and mastered at Sterling Sound, New York.
While making "Back to the Night", Armatrading realised she could make a career out of music, and her experiences during the recording of the album convinced her to apply herself to the task of doing so. Before this album, Armatrading had simply wanted to be a songwriter. She was a reluctant singer and performer and did not want to sing on "Back to the Night" telling producer Pete Gage: "The problem is, I don't want to be a singer ... I want to be a songwriter, I just want to write songs, but I want other people to sing the songs."
The making of the album was a difficult experience for Gage. He had been hired by Mike Stone, an American promoter, who was then acting as Armatrading's manager. Stone described Armatrading as being "very difficult" following the departure of Pam Nestor, but nevertheless having "immense talent". Gage himself was struck by Armatrading's musical ability, describing her as "having a huge amount of natural talent". Armatrading found it difficult to make the album, partly because of her reluctance to perform and partly because she was unhappy during this time, later saying that she had "been going through a bad period". Gage went out of his way to recruit musicians for the album who would be "sympathetic" and "patient".
In the studios, Armatrading was frequently absent-minded and would sometimes walk out, forget where she was supposed to be, and wander off. Because of this, Gage eventually lost his patience with her and while driving Armatrading to Paddington Station so that she could catch the train to visit a friend in Reading, he gave her a dressing down, telling her she should think herself lucky to have musicians and studios at her disposal and that many artists would give a great deal to be in her position. Gage's remarks helped Armatrading to "grow up" and made her realise that she could in fact be a performer and make a living from music, something she had previously not considered.
Armatrading herself did not like the album at the time, and "practically disowned it", dismissing it as "a load of rubbish" and "a waste of time", saying that she hadn't done some things very well because of her state of mind and unhappiness at the time of the album's making.
The photographs that appear on the album cover are in silhouette at the insistence of Armatrading. At the time she would not agree to be photographed, saying: "I don't want my picture on the cover of the album, it'll have to be something else." The only way the photographer, Clive Arrowsmith, could persuade her was to agree to take profile shots and shade the images so her face couldn't be seen.
Songs.
Many of the songs arose from Armatrading's experience of touring in the US following the release of "Whatever's for Us". Sean Mayes notes in his biography of Armatrading that while Joan was playing in the Bronx, New York, she stayed in a hotel in Times Square and would often walk the streets around the hotel late at night, after a performance. It was through this that she acquired her love of "night people", encountering "beggars, buskers … and Vietnam veterans with bits of their arms and legs missing". It was the people she met that provided the background for the songs on "Back to the Night", for example, the song "No Love For Free" being about the prostitutes Armatrading encountered on her wanderings around the Bronx. "Cool Blue Stole My Heart" recalls a holiday Armatrading had in Amsterdam. Armatrading mentions during a live concert released as the "Steppin' Out" DVD that she began writing the song in Amsterdam and finished it in London three months later.
The majority of the songs on the album were written by Joan Armatrading, though two (the tracks "Dry Land" and "Come When You Need Me") were a carry over from her collaboration with lyricist Pam Nestor, which had begun with Armatrading's debut album "Whatever's for Us".
Several tracks from "Back to the Night" subsequently appeared on many compilation albums: "Steppin' Out", "Dry Land", "Cool Blue Stole My Heart", and "Come When You Need Me". Two songs from the album, "Cool Blue Stole My Heart" and "Steppin' Out", were included in the set list for Armatrading's seminal concert at Studio L in Cologne, known as the Rockpalast, in February 1979, and were also included in the live album "Steppin' Out" released in that year.
The song "Dry Land" was said to be the favourite track of the album's producer, Pete Gage, who described it as "a very sensitive number", saying: "I loved that song". "Dry Land" was released as a single (AMS 7205) in 1976.
The song "Back to the Night" was later re-released as a re-mix version in November 1983 as the b-side of the single "Heaven" (AM 162) from the compilation album "Track Record".
Reception.
The album was a critical rather than a commercial success and did not sell in large numbers.
A review in "Record Mirror" referred to the album's "indefinable magic" and music that's "a lot funkier" than her debut album and stated, "Joan Armatrading is quietly destroying musical barriers, providing something fresh and invigorating that's flavoured by lingering touches of Soul, Blues, Folk and the sounds of Joan's Caribbean birth-place; the result is one of the most compelling artists working in Britain today."
In a retrospective review for AllMusic, Dave Connolly commented: "While it's not a markedly better record than "Whatever's for Us", [...] it's on this record that glimpses of the greatness to come appear: the upbeat island feel of "Travel So Far," the powerfully intimate "Dry Land," and the inventive melodies of the title track."
Steve York, who played bass guitar on the album, commented that "it was not a commercial success but it is a highly original and interesting album. Joan is a unique writer with a distinctive voice."
Wilfrid Mellers, writing in "Angels of the Night", stated that "the tone is bold, the rhythms sprightly and the phrasing clipped" and singled out the songs "Travel So Far" and "Steppin' Out" as "reggae-style peans to freedom".
According to the A&M website, "Back to the Night" was voted one of the top ten albums of 1975 by English music critics.
Track listing.
All songs written by Joan Armatrading, except where indicated.
Production personnel.
Recorded at Basing Street Studios, London, Morgan Studios, London and Rockfield Studios, Monmouthshire
Mixed at Basing Street Studios, London; mastered at Sterling Sound, New York City
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Octave (album)
Octave is the ninth album by the Moody Blues (the eighth by this particular line-up), released in 1978, and their first release after a substantial hiatus following the success of the best-selling "Seventh Sojourn" in 1972. Released after a considerable break, which saw The Moody Blues returning in an era of punk music and disco, "Octave" produced a reduced commercial outcome for the band, but reached No. 6 in the United Kingdom and went platinum in the United States, where the album reached No. 13. The album produced the hit single "Steppin' in a Slide Zone", which hit No. 39 in the US, in addition to "Driftwood". The album's title is a musical pun: it references both the notion of an octave; and as a word derived from the Latin "octavus" it refers to this being the eighth album by this line-up of the Moody Blues (following on from the previous album title "Seventh Sojourn").
Background.
"Octave" was considered a departure from previous Moody Blues albums, mainly because of the group's use of lounge-style organs and synthesizers in place of a Mellotron or Chamberlin (Mike Pinder's song "One Step Into the Light" references the Mellotron). Real strings were used on three songs: "Under Moonshine" and "I'm Your Man" (both written by Ray Thomas), as well as "Survival" (written by John Lodge). The album was something of a comeback for the group, who had not released an album as a full group in six years. Justin Hayward remembers, "We were apart for three years, and we knew we were going to record another album together, but, in interviews, none of us were going to say it until we actually did it. We never thought we would be able to come back in the same way. We thought we had been away too long, so we were really making a record for ourselves. But then it just took off again--it's like what people couldn't have, they wanted even more."
The album proved to be the last for the group with keyboardist Mike Pinder, who left during the album's sessions and declined an offer to tour with the group. He had just started a new family in California, and found that he was not getting along with his bandmates as he previously had. Hayward remembers, "He left the band halfway through the album, and then when we wanted to go out on tour, he decided he didn't want to tour anymore, either. And, apart from a few letters of business, we haven't had much contact. I just think his priorities became different, whereas mine--and everyone else's--were always music, No. 1. And I still really miss him, because, when I first came into the band, it was our singing and writing that really got us going; we kind of started together." Hayward reflects further on Pinder's creative role in the band, and how his and Clarke's departure resulted in a stylistic change for the group: "A number of things changed. Two of the mystics left - Mike Pinder and Tony Clarke. They were the strange ones - the rest of us were quite normal! Mike leaving meant a change in emphasis of lyric, because I always had to play things to Mike, and I always wanted Mike's approval. He was a hero of mine, there's no getting away from it, and he was the most important figure in the band for a long while. And he knew that I was the one that was going to make it happen, but he was the one who was behind me making it happen."
Pinder would be replaced by former Yes keyboardist Patrick Moraz in time for their 1978-1979 tour, beginning a new era in the band's history.
Writing.
The lead single and opening track, "Steppin' in a Slide Zone" was influenced by a mudslide that occurred during the recording sessions. Lodge recalls, "Mike built a studio up in Malibu called Indigo Ranch, we went up there, and we were hit by the mudslides, and we were marooned up there on the top of The Hills of Malibu. We couldn't get down because the roads washed away, and I said, 'Ah, yep. Looks like we're steppin' in a slide zone down here'."
Justin Hayward shares his fondness for Mike Pinder's "One Step into the Light" in a 2019 interview: "One Step Into the Light" was the song that Mike had written several years before and that we recorded in his little home studio. I cannot listen to that song, because it just wells up in me. It's just one of the most beautiful songs, ever. He gave me some great gifts, and one of them was to be able to play that song. And then he left. Things were, just personally, not right for him inside that band. So that's when we became four instead of five. Somewhere in there are those two old guitars — because he was a guitar player, too — that we played together on the original version. And I think his vocal is the original version, too. I remember the oxide was falling off that tape, it had been played so many times."
Hayward shares the inspiration for the closing track, "The Day We Meet Again": "That particular song was about people in my family — I come from a family with a very strong faith, and so that's in my background as well. And I come from a part of England that is full of history — the west country. It's a very evocative part of England. It's about people that I loved, and the loss of them. I'm talking about men and women. I find in life that it doesn't matter. If you meet someone, and something inside you says, 'Stay close to this person. Stay close to them,' I always make a point of doing that. Those are the people that I write about. And they're in that song. in the Record Plant in Los Angeles where we recorded it...there was this funny old little Farfisa organ. Late one night, I asked the engineer to put it up. I just started playing that [sings organ groove], and then I thought, 'Hang on, I can just do this three chord thing all the way through the song, in this particular kind of syncopated thing'. That's the bit I like about it most."
Recording.
The album proved to be a struggle to produce, being their first to be recorded in the United States, at the Record Plant in Los Angeles and Indigo Ranch in Malibu. "Octave" would also be the final studio album from the band produced by Tony Clarke. The sessions were marked by marital troubles among the group's members, fires, floods, mudslides and a broken arm. Justin Hayward remembers, "I was mental at the end. There was a great lethargy around that album. Tony Clarke, our record producer, had personal disaster during that album and didn't finish it. And Mike couldn't make up his mind whether he wanted to stay or not. I missed him terribly. I played a lot of the keyboards on it. It was in the time when nobody was showing any interest in anybody else's songs. It's weird to be in a group like that.
John Lodge elaborates on the difficulties, "When we recorded what became the "Octave" album, I was never too sure it was the right time to make the album. Also we were recording in America and it was the first album we were going to record outside of the UK. While we were recording so many things went wrong, not with the band as people, but we were starting recording at the Record Plant. And the Record Plant burned out while we were recording. That was one. I broke my arm. Another one. I recorded after the album with a broken arm and it set with my bass there and said, set it like this so it could still play. And I did that. It was awkward getting in and out of cars, I tell you! Arm up the air. Then private lives in the band between guys and wives, that started to fall apart. We lost our producer during the making of the album, he disappeared. So it really left it to Justin and myself, to continue making the album and producing it. Then we went up to Indigo Ranch in Malibu. And while we were up there, there were the worst floods ever. The mountain slid down the hill and we were stuck up in the mountain in the studio. For days we couldn't get out. And Steppin' In the Slide Zone seemed to conjure up everything to me that was wrong. Or fighting the tide, probably. Yeah, fighting the tide. But it's a great album. It ended up being a really nice album. It was really hard work. But it was a great learning experience for us.
Graeme Edge reflects on the improved dynamic within the band during the sessions despite the loss of Pinder and Clarke and the group's struggles during recording: "Making your solos shows you how much work actually goes into making an album that other people were covering and you weren't perhaps paying enough attention to. So when we got back together, we had a lot more respect for each other."
Release.
The cover art was designed by artist John Kosh, famous for his work with The Beatles, The Rolling Stones, The Who, among others.
The original album was released on clear blue vinyl in Canada.
In November 2008, the album was remastered and released on CD, with five previously unreleased, live, bonus tracks.
Additional personnel.
Source:
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Marie Osmond
American singer and entertainer (b. 1959)
Olive Marie Osmond (born October 13, 1959) is an American singer, actress, television personality, author, and businesswoman. She is known for her girl-next-door image and her decades-long career in many different areas. Her musical career, primarily focused on country music, included a large number of chart singles with four reaching number one on the "Billboard" Hot Country Songs charts. Her 1973 cover of "Paper Roses," released when she was 14, made her the youngest female act with a number-one country single. Between 1985 and 1986, she also had number-one country singles with "Meet Me in Montana," "There's No Stopping Your Heart," and "You're Still New to Me." As a television personality, she has been a host of "Donny & Marie" (alongside brother Donny Osmond) and on "The Talk". Her acting career includes appearances in television films and Broadway musicals; she has also written several books and helped found the Children's Miracle Network.
The eighth of nine children in the Osmond family, she made her television debut on "The Andy Williams Show". At age 13, she established a career as a country recording artist. She began recording alongside her brother Donny, leading to the creation of their own syndicated variety show, which aired through 1979. In the early 1980s, the Osmond family lost most of its fortune, and Marie performed alongside her siblings. She also attempted to launch an acting career, experimenting with the variety show "Marie". She then refocused her attention on the country genre and signed a contract with Capitol Records in 1985. Between 1985 and 1990, she had three number-one singles and released several albums, including "There's No Stopping Your Heart" (1985).
In the 1990s, Osmond established her own collection of dolls, which the QVC network sold. She made her Broadway debut in "The King and I" in 1994. Between 1998 and 2000, she reunited professionally with Donny for the network talk show "Donny & Marie". During this period, she publicly spoke about her struggles with postpartum depression, later the focus of her book "Behind the Smile: My Journey Out of Postpartum Depression". In 2004, she hosted her own radio series, entitled "Marie & Friends" and, in 2007, appeared in a season of "Dancing with the Stars".
She and Donny reunited their act between 2008 and 2019 for a residency at the Flamingo hotel in Las Vegas. The show later produced an album of their duets in 2009. In 2010, she returned with the solo studio album "I Can Do This". In 2016, her country album "Music Is Medicine" followed and then, in 2021, came her classical album, "Unexpected". Osmond also co-hosted "The Talk" between 2019 and 2020. And she appeared in several Lifetime television films, such as "The Christmas Edition" in 2020.
Childhood.
Olive Marie Osmond was born October 13, 1959, in Ogden, Utah. She was the eighth of nine children (and only daughter) born to Olive May and George Virl Osmond. Her brothers are Virl, Tom, Alan, Wayne, Merrill, Jay, Donny and Jimmy Osmond. She was raised as a member of the Church of Jesus Christ of Latter-day Saints. Virl and Tom were both born deaf. Her remaining brothers began performing from an early age as a barbershop quartet and eventually found success on "The Andy Williams Show" in the 1960s. Her brothers' success prompted the family to move to Los Angeles. In 1964, when Marie was four years old, she made her first televised appearance on "The Andy Williams Show".
Most of Marie's childhood was spent at home with her mother, along with Virl, Tom, Donny, and Jimmy. Marie was closest to Donny during their childhood, and the pair often played together. "Donny and I were rambunctious playmates, who never gave our mother a moment to rest," Osmond recounted in her book "Behind the Smile: My Journey Out of Postpartum Depression". She also accompanied her brothers to concerts in her early childhood, often helping organize stage equipment and wardrobes. When the family was home, they spent much of their free time singing and harmonizing with each other. "I never knew a day of my childhood life where music wasn't being played, practiced, written, or sung," she recalled in 2009.
Music career.
1973–1979: Teenage country music success and collaborations with Donny.
By 1970, her brothers had formed their own group, The Osmonds. During this period, they rose to commercial stardom with a series of successful pop singles. It was then suggested that Marie could have her own music career. She chose to market herself as a country music artist, explaining that it was the only genre that allowed women to have a family and career. As a preteen, she recorded a demo tape, singing Dolly Parton's "Coat of Many Colors." Subsequently, Don Ovens of MGM Records heard it; impressed by her singing, he signed her to a solo recording contract with the label's Nashville division.
Ovens convinced country artist Sonny James to produce her first recording session. In June 1973, Osmond and her mother flew to Nashville, Tennessee where she recorded nine previously-memorized songs. Among the tracks was "Paper Roses," which would be released as her debut single in August 1973. The song later reached the number-one spot on both the US country songs chart and the Canadian country tracks chart. The song also crossed over to the US Hot 100, peaking at number five and went to number two in the United Kingdom. Osmond's debut studio album was released in September 1973 and topped the US country albums chart. At 14 years old, she became the youngest female country artist whose debut single hit number one in the US.
In 1974, Osmond's next solo single "In My Little Corner of the World" became a top-40 US country single. Then, in 1975, her "Who's Sorry Now" became a top-40 pop single in the US and Canada. Two corresponding studio albums, named after Osmond's follow-up singles, rose to the US country chart in 1974 and 1975, respectively.
By the early 1970s, Donny had established his own recording career, apart from his brothers' group. In 1974, he was in the studio recording the song "I'm Leaving It All Up to You," but was having difficulty hitting its high notes. After Marie came in to sing harmony, the song began to launch the siblings' collaborative recording career. With both receiving credit, the track reached number four on the US Hot 100, while reaching the top five in Canada, The Netherlands, Ireland, and the UK. An album of the same name sold over 500,000 copies in the US and produced another international top-ten single, "Morning Side of the Mountain." As a duo, Donny and Marie had five more US top 40 singles through 1978: "Deep Purple," "Ain't Nothing Like the Real Thing," "(You're My) Soul and Inspiration," and "On the Shelf."
From 1976 to 1979, the siblings hosted their own network variety show called "Donny & Marie". The duo released three more studio albums with MGM during the show's run: "Featuring Songs from Their Television Show" (1976), "New Season" (1976), and "Winning Combination". Both of their 1976 studio albums certified as gold in the US after each had sold 500,000 copies. In 1977, Rick Hall produced Marie's next solo album, entitled "This Is the Way That I Feel". Unlike her previous releases, it was collection of pop songs. Released on Polydor Records, "This Is the Way That I Feel" peaked at number 152 in the US and its title track reached number 39 on the US Hot 100.
1985–1995: Country music comeback in adulthood.
Osmond returned to country music in the 1980s. She was signed to Capitol Records by Nashville label-head Jim Foglesong. Foglesong paired her with Dan Seals to record the duet "Meet Me in Montana". Released as a single in 1985, it became Osmond's second number one single on the US country chart, and reached number 19 on Canada's country chart. Additionally, the song won the Vocal Duo of the Year accolade at the Country Music Association Awards. "Meet Me in Montana" was included on Osmond's first Capitol album "There's No Stopping Your Heart" (1985). The album was praised by critics who found her well-suited to singing country pop material. The disc's title track was chosen as the album's second single and ultimately became her first solo single since "Paper Roses" to reach number one on the US and Canadian country charts. Its third single "Read My Lips" reached the US and Canadian country top five in 1986.
In 1986, Osmond was nominated by the Academy of Country Music for Top Female Vocalist and by the Grammy Awards for her her duet with Dan Seals. Osmond, her husband and children then moved to Nashville to further her country career. Along with her four children, Osmond traveled the United States on a tour bus doing hundreds of shows a year. "It was a pretty good life, as long as you didn't mind scraping cow pie off your shoes once in a while," she later wrote in her 2009 memoir.
Capitol released Osmond's next album in August 1986 "I Only Wanted You". The disc was her second produced with Paul Worley in Nashville. "Billboard" praised its country pop production calling it "glowing". Along with her previous project, "I Only Wanted You" made the top 20 of the US country albums chart. The album featured a duet with Paul Davis called "You're Still New to Me". Although Davis had pitched her the song, it was Osmond's idea to record it as a duet with him. Released as a single, the Osmond-Davis duet topped the US and Canadian country charts in 1986. The album's title track was spawned as the disc's second single and reached the top 20 on both nation's country charts in 1987.
In July 1988, Osmond's next Capitol studio album "All in Love" was released. The disc's production was described by critics as "excessively sweet" and "slick". It reached the top 30 of the US country albums chart. Its three singles reached positions outside the US and Canadian country top 40: "Without a Trace", "Sweet Life" (another duet with Paul Davis) and "I'm in Love and He's in Dallas". Her final Capitol studio album was 1989's "Steppin' Stone", which reached the US country albums top 70. Critics took notice of the album's traditional country production compared to her previous projects. Similar to her previous release, all three of its singles (the title track, "Slowly But Surely", "Let Me Be the First") failed to peak in positions inside the US and Canadian country top 40.
In 1990, Curb Records released Osmond's first compilation of greatest hits under the title "The Best of Marie Osmond". The album contained some new recordings, one of which was the single "Like a Hurricane". It reached number 57 on the US country songs chart in 1990. Another new track was a re-recording of "Paper Roses", which Osmond remade due to the copyright challenges with including the original. Osmond brought in the song's original producer (Sonny James) and several of the original studio musicians to re-make the track. In 1995, Osmond returned to the US country charts with the new Curb single "What Kind of Man (Walks on a Woman)". Two previews of songs from an anticipated album were included in the single's release. However, Osmond ultimately chose to make a career change finding it challenging to balance family life with touring.
2008–present: Las Vegas residency and return to music.
In 2008, Donny and Marie agreed to a six-week run