Shane Stockton is a country music recording artist whose debut album proved to be his one and only release.
Produced my Mark Wright for Decca Records in 1998, Stories I Could Tell did not have much of an impact in Nashville. Three singles were released to radio: “What If I’m Right,” “Gonna Have to Fall,” and “Somewhere in the Ashes.” Videos were produced for the first two singles, but both failed to crack the Top 40. The third didn’t single didn’t event chart.
Despite opening for acts like George Strait and Clay Walker, the critical reception of the album was tepid at best. In a Country Standard Time album review, Jon Weisberger said, “Too many solid melodies and arrangements are betrayed by awkward, uninspired lyrics. While he gets big points for daring to skip the drums on the album’s final cut, a gospel number called “Billy Saw The Light,” the song itself is unmemorable, and the big ballads like “What If I’m Right” sound like knockoffs of mostly forgettable radio fare.”
Stockton would have, no doubt, loved the opportunity to tell some stories about how he harnessed the power of such low expectations to get radio’s attention. We will never know, however, if Stockton would have been given another chance; Stockton walked away from country music of his own choosing.
While still in the game in the late nineties, I certainly did not hear any of his singles on the radio. I have zero recollection of seeing any of the videos on CMT. In fact, I cannot even remember what motivated me to purchase a copy of the CD. It may have been my faith in the Decca Records roster which included Lee Ann Womack, Gary Allan, and Mark Chesnutt.
Whatever the reason, I am glad I did because I unexpectedly find myself listening to this album quite often. It has real staying power with me.
For starters, the album is basically a showcase for Stockton as a songwriter and singer. Nine of the ten songs are written exclusively by himself. The only co-write is “I Didn’t Know,” written with David Stephenson and Mark Wright. The variety of styles Stockton explores sounds sincere more than scattered. The collection of songs seems appropriate to a debut that largely sounds like it exists as an exceedingly well-produced demo. Nashville was increasingly struggling to identify its own identity as this point, so it tracks that a sampler would be a safe approach to assembling an album for a new artist in 1998.
To his credit, Stockton is a strong singer with a confident phrasing and a good command of vocal dynamics. The musicianship is sharp and the production is clean. The melodies alternately swing, soar, and scream. I believe it all still works surprisingly well which is why I am going to bat for Stories I Could Tell 27 years later.
Stockton must have been listening to fellow Texans George Strait, Tracy Byrd, and Tracy Lawrence given how breezily he swings through “I Didn’t Know.” I sort of adore “What If I’m Right” for all the pleading intensity and drama of his interpretation of his own words. I can see how this performance could be lampooned as being wimpy, but its among my favourites on the album. “My Life’s an Open Book” is a waltz for God’s sake. It is great song celebrating a simple life. Stockton set’s the hook with the line, “My life’s an open book, read it if you want/I’m pretty sure the novel wouldn’t sell.” “Geronimo” is western themed chase-song with screaming guitars and a galloping narrative pace. The fun song speeds and loops along with no clear resolution; it is custom made to listen to on repeat.
“Train, Train” is a heartbreak song sung to a train. The narrator claims to always been the train’s closest friend as he implores it to bring his baby back. It’s corny, but it demonstrates a familiarity with country conventions and it capably rumbles along. “Don’t Let the Fool Fool You” feels like smash up of Lee Ann Womack’s “The Fool” and “Never Again, Again.”
The songwriting is clunky on the title track, but Stockton sells the hell out of it vocally. I forgive him for trying to incorporate “strife” into the rhyme scheme. This performance sighs like Earl Thomas Conley’s “That Was a Close One.”
The album closes on an bluegrass-adjacent, and acoustic, note with a religious song about a character named Billy who steps into the light to reveal his true character. The song is compelling in context because Stockton left country music after following Jesus’s invitation “come unto me” from The Gospel of Matthew (11:28-29) to become a preacher in small Texas congregations. In a 2002 interview Stockton shared being weary of a showman’s life. He said, “When it got to that point I really didn’t enjoy it anymore. Nobody ever plays a song because it’s good. It’s because record labels call and offer favors.”
I am happy that Stockton found spiritual rest from the hardships of being an aspiring country music star. Today, he remains content to minister to people through something other than just music, although he has a number of great covers of classic country songs on YouTube as Shane Stockton Brooks.
In 2025, I certainly still repeatedly play Stories I Could Tell because, despite his debut record selling no better than the story of his life, I believe it remains a better than good album.
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