When I get a little bit of success, I try my best not to get overly optimistic. Though I may present myself as a cynic, in actuality I'm as much of a hopeless romantic as anybody out there, so give me a little bit of hope and it can go a long way. The more I've grown, though, the more I've realized that one can put things in their proper perspective and still revel in your good fortune.
By 2007, Little Big Town was steadily becoming one of the premiere groups in country music. They had finally gotten a taste of the commercial success that had eluded them on their debut album and their music was respected by critics, revered by fans, and undoubtedly reveled in by the four rising stars. It was the perfect storm that simply demanded to be interrupted and interrupted it was.
The main aesthetic of A Place to Land seems to be how "throwback" the entire sound really is; it's as if 70s pop/rock, California, and modern country got together and had a very interesting looking child. Interesting in a good way, in a necessary way, but interesting nonetheless. The group had already been dealing with Fleetwood Mac comparisons and the vibe of the record sounds like something in-prime Mac could churn out, though there's enough personality to keep the record grounded. The story of a battered woman, Evangeline leans on the darker vocals the female members of the group (the vocally edgier members and the reason the group does brooding material well) and avoids the potential clichés a song like this can bring. Instead of this sweeping, maudlin paint-by-numbers ballad, you get hints of blues and a tough love lyric that feels more personal than let's-see-if-this-can't-relate-to-everybody chic. It has a positive message behind it but it dresses it up enough to where you're not rolling your eyes or feeling manipulated. Novocaine feels readymade for a concert; there's nothing inherently wrong with having big hooks and shout-a-long background vocals (you will be singing along by the end, so get ready), though, and it doesn't pander to get your attention. It may have the most instant effect on the album, but they sprinkle enough musically credible elements (subtle handclaps, driving guitars) to keep it from heading toward "too single-ish" territory. Confident and coyly flirtatious, it'll take a minute to really stick with you, but it's worth the wait. A Place to Land sounds like it could have been included on their last album, though the vocal production is a tad bit wonky on the verses. Once things get under control, it becomes this decently poetic ode to being lost and not knowing where things are going in one's life. Though it's a solid track overall (worthy of a listen) and the intentions are romantic, it feels a bit slight on all angles; the melody's a little too familiar, the imagery isn't as fresh as it could be, etc.
Lonely Enough just breaks your heart in the best way possible. Concerning the recoil from a death of a loved one, Lonely is painfully self-aware and delves into areas that resonate with anyone who has lost someone. The feeling of helplessness and pure ache is exquisitely captured, making this the type of record that almost hurts to listen to. With some hauntingly desolate harmonies and a melody that is wonderfully emotional, it's desperate and truly human, thoughtfully presented and a career record. On the other side of the spectrum is That's Where I'll Be, a wistful, desert-y love song about dedication and never ending support. It's not the sexiest or most innovative listen, but it's just executed so beautifully that you get swept away in the breezy melody and charming vocals. I've noticed that the guys in the group tend to handle the love songs, more than likely due to their friendlier, calmer tones (the women have fierier vocals that are less lovey dovey), making this extremely comfortable and tender. Vapor is one of several feel good road songs on the record, the type of song to put the top down to and belt along to. Lyrically it's a bit of a stale message that doesn't get a whole lot of life shot into it, though the intentions are positive and some of the imagery is impressive. Its sunny hook is a little deceptive but effective, as the actual song reads more downbeat without the immaculately layered harmonies and clean guitars massaging the words into what you see.
Whether it be the lack of a truly memorable first single, the crowded time of release, or simply the music world moving along without informing the group, A Place to Land didn't have near the same commercial impact as The Road to Here. It may have been a hit with critics and devoted fans of the band, but one false move with country radio and you're in the doghouse until your next album. Place took away a lot of the edge from The Road to Here and leaned heavier on the group's Fleetwood Mac influences that had been present on the previous two albums. It makes for an interesting study of their vocal dynamic and the 70s tint to the production actually brings out some beautiful texture to the material, but it's not as immediate of a record. However, stick with it and you'll assuredly find the beauty in the fury.
0 comments:
Post a Comment