This week’s roundup features Album of the Year contenders from Melissa Carper and Maya De Vitry.
Koe Wetzel
9 Lives
Continues to find his footing after making the jump to a major label; still too strident about half the time, but when he’s focused, he navigates this specific lane in more interesting and convincing ways than, say, Eric Church or Jelly Roll. He remains one to watch.
Maya De Vitry
The Only Moment
A spectacular return from a singer-songwriter with real gifts on both sides of that hyphen. Comparisons we made previously to Patty Griffin and Kim Richey hold up throughout, but there’s a strong flair for indie-pop mixed in here, too, on a record of impressive range.
William Michael Morgan
Country Classics Vol. 1
A gifted singer with the misfortune of debuting when the genre shifted favor to tone-deaf half-rappers, Morgan turns in predictably solid renditions of a well-chosen if obvious list of covers. A game effort, if inessential. A hat-tip for the spectacular ‘stache, though.
Melissa Carper
Borned in Ya
Sounds like a hillbilly singing an old-school cabaret record, and every second of this is an absolute, utter delight. Even the heartache is tempered with real wit– “Your furniture is too nice for me and my doggie,” and oh my God– and her truly singular talents.
Various Artists
Twisters: The Album
I’m inclined to believe Walter Chaw’s review of the film, and the soundtrack is dreadful in much the same way as a state of the union here at the end of all things. A-list stars of questionable merit, happy to be invited and, but for Tyler Childers, bringing their C-list best.
Re. Twisters soundtrack: Well the film itself isn’t going to be another 2001 in terms of scientific plausibility (escept for its depictions of the twisters themselves), but its wall-to-wall country music soundtrack is indeed a disaster. I far prefer the actual music underscore by Benjamin Wallfisch. Say what you will about the original 1996 film Twister, at least it had a genuine country classic on its soundtrack in the personage of “No One Needs To Know” by one Shania Twain.
Back when we reviewed the Luke Combs single off this soundtrack, I wrote that “No One Needs to Know” was Twain’s finest single, and I stand by that. The best single from the original film’s soundtrack, though, was Tori Amos’ “Talula (Tornado Mix)”. That soundtrack spanned multiple genres pretty effectively and also was not one billion years long, as this one is.
That Carper album truly is fantastic. As for the William Michael Morgan album, I was very pleased to see Everything that Glitters. As I mentioned in the 80s series, it’s one of, if not my favorite country songs ever, and he’s the first person I’ve seen cover it. Thought he did a really nice job.
Mark Wills sings “Everything That Glitters” in his concerts and does a solid job on it.
So happy to see Carper’s fanbase continuing to grow!
The covers set demonstrates WMM’s strong taste, for sure. “All That Glitters…” is an all-timer, and he gives it an appropriately reverent cover.
I never got on with Mark Wills at all, so I’d never have sought out his live sets, but good on him for having the taste to cover that song, too. Stopped clock twice a day and all, I suppose!
How do you reckon The Only Moment as de Vitry’s solo debut? She’s got at least three prior solo albums.
Hmm. Must’ve conflated the press release for her album with another one. Thanks for catching that, and it just means I have more albums of hers to catch up on! I knew of her from The Stray Birds ages ago but hadn’t had her solo work on the radar until this new one.
How to Break a Fall is my favorite. Highly recommended!
Ms Carper appeared on a recent edition of Ray’s Roadhouse [Ray Benson & Asleep at the Wheel] on the RFD network. She definitely impressed me.
There is a definite Western Swing influence on this record, so I can imagine her getting on quite well with the Asleep At The Wheel crew!