Transplanted New Yorker by way of a childhood in Alabama, Moorer may be the younger sis of Shelby Lynne and the husband of Steve Earle (with whom she had a child this year—bigger news, perhaps, than a new LP!). But after eight albums in 12 years, she likely needs no such notice-by-association. Typically described as an alt-country star, her latest barely betrays such nomenclature, bearing up instead as a folk pop and soft singer-songwriter rock foray, with only minor country inflections (her voice uses only the barest twang, for one). Nearing 40, and having sung since barely out of the crib, she has a booming, commanding, but never overdramatic voice that’s bound to take over whatever track she records. And the melodious nature of the post-R.E.M. ringing pop of her winning 2009 single “Broken Girl,” for example, should have been enough to propel her to the top of several different key charts that Billboard bothers to track. Instead she is relegated at this point to the relative bushes of the U.S. folk chart (Crows made #11, her first ever inclusion there). Certainly the album’s reflective nature (such as the piano-brooding “Should I Be Concerned,” with its surprising, cutting acid blues lead guitar) places her a cut above the usual commercial spectrum doggerel. But nine years removed from her last minor country hit (2001’s “Think It Over”) and her major label days long behind her, her dogged and admiral refusal to fit neatly into pre-selected baskets keeps her, like her hubby, unfairly working on the margins, while garnering respect and credibility at every turn And there’s no reason why you can’t enjoy what commercial music should sound like, and once often did 40 years ago, confident, clearly recorded, and full of actual ability, not a predilection for overdubs, punch ins, skimpy outfits, and an overbearing video. (rykodisc.com)
