Love, Shelby

However, as an album in its own right it is an extremely accomplished piece of work, as you would expect from Lynne and her main collaborator Glen Ballard.

Yes, it is a move towards the mainstream, but the album still manages to stand head and shoulders over any other female singer/songwriter collection released this year. Lynne's voice is so strong and so unique and her character so firmly imprinted on all of her recordings that she would manage to overcome even the most bland of material - an accusation that could not be levelled at any of these tracks.

From the opening track to the album's stunning finale, a cover of Lennon's 'Mother', Lynne weaves her wondrous voice through rock (see Jesus on a Greyhound which builds to a stirring crescendo), country, ballads and even Phil Spector-tinged pop (the excellent Killin' Kind).

It is, of course, always a daring move to interpret a John Lennon track - there is no more sacred a cow in the business - but Lynne more than succeeds with her version of Mother - made all the more poignant when listened to with some knowledge of her past.

Quite often when an artist is coasting on the success of an album there is an overwhelming temptation to become a little self indulgent on subsequent collections - witness the recent dissapointing sophomore effort from Macy Gray. Howver, Lynne steers well clear of this pit-fall and has delivered ten tracks that never waver in quality throughout.

I think the thing that hit you about This Is... was that every song hit you every time you heard it - especially Your Lies. As an opener, Trust Me is completely different; all soft spoken intro that gets louder later... Bend is very much in the vein of Thought it Would be Easier musically, but the lyrics are waaay less depressing.

I never actually thought that This Is... was similar to Sheryl Crow, despite the fact that that was the comparison made most often - but a couple of songs on Love, Shelby did remind me of Sheryl's self-titled album, and Jesus on a Greyhound was one of them (it does have to vye with Tarpoleon Napoleon for weirdest title on the album). It reminded me of Maybe Angels, i think; a rocky number with seriously strange lyrics...

Wall In Your Heart is gorgeous, a ballard that benefits from the piano backing.... Ain't it the Truth, apart from having a staggering seven writers credited(!), is another track where the chorus reminded me of Sheryl Crow... this time it was Am I Getting Through from The Globe Sessions, but a little lighter...

I Can't Wait would have fitted on I Am... whereas some of the other tracks here wouldn't. Slightly mournful, wrapped up in lots of loud guitars that offset the lyrics a little...

Tarpoleon Napoleon (there are no lyrics included and i still have no idea what this title means!) is laid-back and jazz-influenced... it's the new Lookin' Up or Dreamsome (my favourite track from This Is....) Just delicious.

Killin' Kind has been available for ages on the Bridget Jones soundtrack, so i couldn't really judge it as part of the album. Hearing this did make me look forward to a new album - it's a twist on her usual style and totally catchy, changing pace all the way through.

All of a Sudden you Disappeared is more country-soul; great title, great song; sad and nostalgic ....this would have been great to have ended on, cos i'm still not sure about her cover of Mother as the last thing you hear. Nothing wrong with the song; its growing on me - i just prefer something slower to wind down an album with, and this is perhaps too angst-ridden for that...

All in all, it's certainly Shelby Lynne you're listening too - Glenn Ballad just seems to have calmed her down a little, if anything! There's nothing as achingly dark or angry as Life is Bad or Your Lies, or Why Can't You Be.... but there's nothing as country or personal as Where I'm from, or as spooky and haunting as Black Light Blue. There's not a bad song there, but they seem to be a more cohesive whole than This is... - and i quite liked the split personality that album had. If you liked This Is....., you have to get this - it's gets inside your head the first time you play it, which is my criteria for a must-have album. It's not a rehash, though, and it's moved on in a way i didn't expect. Certainly no Alanis Morissette influence, though - not in any way, shape or form!
There is another version available with about four or five extra tracks, though, which will be interesting to hear in relation to this version...