Ms. Monroe has been on the scene for over half a decade now and she is finally getting to release a solo album on something other than iTunes. That isn't to say that her debut album was not excellent, actually it may be one of the greatest debuts of all time, but this is a promising landmark for a career so anticipated for its potential it doesn't matter. With this and Kacey Musgraves' debut easily being two of the most anticipated albums of the year, how does it measure up to the hype?
The answer is simple: almost perfectly.
The album has her usual traditional bent and his characterized by productions that feel beautifully organic for the song. This is not to say they are all as openly organic as "Like a Rose" and for proof look at the haunting arrangement of the Little Big Town assisted "You Got Me" midway through the album.
Usually, one has right to be concerned about the quality of vocals on country albums today; however, one thing that can always be assured by Monroe is regardless of whether it be a sorrowful ballad ("The Morning After"), novelty ("You Ain't Dolly"), pop tinged ("Bruises" with Train) or honky tonk ("Two Weeks Late" and Pistol Annies) she will sound excellent. Pus, the guest she includes are some of the best vocals country has to offer in Little Big Town, Blake Shelton, and Vince Gill.
She has striking vocals and cleverly fitting productions, so what about the lyrics? Her lyrics, with the exception of the Voice and 50 Shades of Grey references in "Dolly," are always well developed with and insightful perspective. This is best seen on the Keith Whitley-esque "She's Driving Me Out of Your Mind" and the clever "Two Weeks Late," who says plainly about her life and struggles "I'm a dollar short, and two weeks late" in a manner that recalls "Beige" from Hell on Heels.
Two of the best tracks tho are "You Got Me" and "Weed Instead of Roses". "You Got Me" has the distinction of being the most haunting track on the album with a pulsating tempo that lends a sense of desperation to the lyrics about longing for the man, whether he knows it or not she is in his hand to use. Similarly, "Weed Instead of Roses" utilizes a somewhat unconventional perspective to detail a longing for an intensely passionate relationship again, using lyrics like "Give me weed instead of roses, whiskey instead of wine" to characterize the desperation of the woman. The production further elevates it to a level of greatness that just narrowly avoids becoming camp with its tongue-in-cheek singing.
Throughout the album, Monroe utilizes her vocal gifts, insightful lyrical perspective and intricately sparse production to convey human turmoil and desperation in a manner sparsely seen in recent years. The album is short of perfect, coming in short at 9 tracks (including the re-use of "Used" from Satisfied) and having a forgivable misstep in in "You Ain't Dolly (and You AIn't Porter)" at the end. It is still excellent, surpassing many of her contemporaries longer sets, and sets a high standard for the rest of the year.
Top Tracks: "Weed Instead of Roses" "You Got Me" and "The Morning After"
The answer is simple: almost perfectly.
The album has her usual traditional bent and his characterized by productions that feel beautifully organic for the song. This is not to say they are all as openly organic as "Like a Rose" and for proof look at the haunting arrangement of the Little Big Town assisted "You Got Me" midway through the album.
Usually, one has right to be concerned about the quality of vocals on country albums today; however, one thing that can always be assured by Monroe is regardless of whether it be a sorrowful ballad ("The Morning After"), novelty ("You Ain't Dolly"), pop tinged ("Bruises" with Train) or honky tonk ("Two Weeks Late" and Pistol Annies) she will sound excellent. Pus, the guest she includes are some of the best vocals country has to offer in Little Big Town, Blake Shelton, and Vince Gill.
She has striking vocals and cleverly fitting productions, so what about the lyrics? Her lyrics, with the exception of the Voice and 50 Shades of Grey references in "Dolly," are always well developed with and insightful perspective. This is best seen on the Keith Whitley-esque "She's Driving Me Out of Your Mind" and the clever "Two Weeks Late," who says plainly about her life and struggles "I'm a dollar short, and two weeks late" in a manner that recalls "Beige" from Hell on Heels.
Two of the best tracks tho are "You Got Me" and "Weed Instead of Roses". "You Got Me" has the distinction of being the most haunting track on the album with a pulsating tempo that lends a sense of desperation to the lyrics about longing for the man, whether he knows it or not she is in his hand to use. Similarly, "Weed Instead of Roses" utilizes a somewhat unconventional perspective to detail a longing for an intensely passionate relationship again, using lyrics like "Give me weed instead of roses, whiskey instead of wine" to characterize the desperation of the woman. The production further elevates it to a level of greatness that just narrowly avoids becoming camp with its tongue-in-cheek singing.
Throughout the album, Monroe utilizes her vocal gifts, insightful lyrical perspective and intricately sparse production to convey human turmoil and desperation in a manner sparsely seen in recent years. The album is short of perfect, coming in short at 9 tracks (including the re-use of "Used" from Satisfied) and having a forgivable misstep in in "You Ain't Dolly (and You AIn't Porter)" at the end. It is still excellent, surpassing many of her contemporaries longer sets, and sets a high standard for the rest of the year.
Top Tracks: "Weed Instead of Roses" "You Got Me" and "The Morning After"
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