When you've spent your entire life as a tabloid target, it's a little difficult to get people to take you seriously. Even if it's not your intention to be hounded by photographers and have your entire life documented for all the world to see, people automatically assume that if you're a constant media presence then it's your own doing. I couldn't imagine being born into celebrity and having to fight that off in order to do something that I love.
Lisa Marie Presley has had to do that since the beginning of her singing career in the early 2000s. Being the daughter of the king of rock'n roll and marrying the king of pop would set anyone back in terms of finally finding their occupational voice. Presley has always been an outspoken woman with no regard for our soundbite obsessed culture, but she never had the confidence, the songs, and the direction to set out on a solo career until well into her 30s. What resulted was 2003's To Whom It May Concern, a scathing look at motherhood and fame, followed shortly by 2005's Now What.
Preceding the album was a cover of Don Henley's Dirty Laundry, a commentary about fame and scandal. Though I genuinely enjoy the song's sound (it's got this almost confrontational slant to it, thanks to the slithering bass and slow burning vocal, all of which play to Presley's strengths), it just feels a little bit like harping on the same material in order to make an interesting song. Granted, it fits Presley's vocal style and overall ear, but her peak tabloid years were at least 10-15 years ago. I know that scars from past experiences tend to take time to heal, but it plays the victim a bit too heavily and ends up sounding like another hypocritical celebrity mopefest. Raven is more in line with what I want from Lisa Marie; referencing her mother, it's chock full of regret and feels undoubtedly bittersweet. Beautifully penned and featuring stormy production, its cathartic without being too heavy; I appreciated the metaphor because if it had been written too straightforward, you wouldn't have had to think about what she was saying. Metaphorical songs tend to get too cutesy (well, more often than not), but Presley manages to unload a lifetime of emotion in the span of just a few minutes and keeps her head above water. Turbulence lightens the mood about as much as it can be on a Lisa Marie Presley record with its bouncy guitar work and less smothering production, but it still manages to sock you in the gut with the somber, cutting hook. It may expose one of Presley's only true weaknesses (her enunciation is a bit messy, so keep your album jacket handy), but it also highlights just how emotionally connected she can get to her material. While it doesn't immediately have any references to her personal life, the conviction with which she performs stands out and lifts the proceedings up.
High Enough has the proper hazy production and wispy delivery for its subject matter (it sounds like the morning after) while providing ambiguous enough lyrics to leave you wondering. It's an anti-drug message, for sure, but I can't necessarily tell if it's more of a personal-experience-I've-had-wild-nights-and-I'm-never-doing-that-again type of perspective or if it falls in line with To Whom It May Concern's title track and comment on the use of psychiatric drugs by children (the talk of swimming in your own mind leads me to think it's this). Either way, it's well executed, featuring some punchdrunk guitar and properly subdued drumming. If you're looking for a purebred rock track from Presley, this is it. Thanx returns Lisa to the country-ish elements of her debut album, possibly her weakest stylistic choice, but it's yet another solid cog in the Now What wheel. It's refreshing to hear some optimistic thoughts from the typically dour diva, as the song itself follows suit. The laidback atmosphere on this readymade road song spreads to Presley's delivery, a type of ease to her effusive praise that has been seen very rarely on her first two albums. If you like your Lisa Marie pensive and ornery, this won't be for you, but I always respect an artist revealing another side of themselves. Turned to Black wouldn't sound out of place on a Maroon 5 record; it's more Songs about Jane than It Won't Be Soon Before Long, though, with its soulful atmosphere and vibrant melody. It still has the "signature" darkness that both Presley albums have had, but it has more layers to its sound (A string section! Jazzy undertones!) and message (It's articulate for a break-up/kiss-off midtempo). This song does what I think most artists, regardless of lineage and commercial standing, need to do in order to make interesting music; this has its roots in the artist's identity while slowly easing out of their comfort zone.
While To Whom It May Concern had a little bit more complexity to its sound (it was simultaneously southern, bluesy, rock, pop, and country), Now What is a pretty solid follow-up and one that positions Presley as someone who could make a transcendent record one day. Not everything has clicked on all cylinders for an entire record yet, but when it does, watch out. Until then, you get flashes of brilliance here, as the rougher uptempos and smoldering ballads are a nice contrast and Presley's husky snarl is reminiscent of someone in particular. It's not a perfect record but in a time that is seriously lacking in commercially viable female rock artists, what better way to go than explore the lineage of a legend, the ex wife of greatness, and a pretty darn good singer-songwriter?
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