LIZ LONGLEY
Liz Longley
Sugar Hill 4108
* * * *
Looking for a glorious new voice? Liz Longley came out of
Boston's Berklee College of Music a few years back and immediately began
drawing comparisons to Shawn Colvin, Natalie Cole, and Nanci Griffith. That was
the excitement speaking, as she doesn't sound like any of them and that will be
just fine with anyone lucky enough to hear her. Longley sings with all the
power of a pop star, but with the wisdom of a mature performer who knows the
difference between presentation and pyrotechnics. You'll hear some of those
whispery tones female country singers favor these days, but also delightful
catches, full-throated soaring scales, and lower-register grit. She's pretty
darn handy with the pen as well, which is to say that Ms. Longley is the real
deal.
Longley's Sugar Hill release is her third full release and,
for better and occasionally for worse, it's aimed at breaking through
Nashville's noisy and competitive scene. There are songs on this record that are
just about as good as songwriting gets. "Skin and Bones" has that Appalachia
with ominous undertones feel that's evocative of a David Olney song; and
"We Run," is an inspirational pop/rock anthem in honor of a cousin
she lost to 9/11. (Longley also performed this song as part of the Boston
Strong campaign.) Then there's her confessional "Bad Habit," an
anti-tribute to a bad relationship that should have ended sooner; and
"This Is Not the End," an honest look at not being able to let go.
But even these pale compared to "Memphis," destined to become the
earworm you'll feel blessed to have living in your head. It's another song
about something that may or may not be ending, this one dished out with a
warning. Longley frames it in a signature tune and about as much raw emotion as
a body can take without choking. The only thing that prevents me from declaring
the entire album one for the ages is the feeling that there's more going on here
than is needed. I've heard most of these songs in Longley solo performances
that I much prefer to the slick studio processing. Whether you will or not
depends upon how you feel about Nashville records aimed at country/pop audiences.
There is, however, an old adage about gilding and lilies. Make no mistake; Liz
Longley is a rare lily indeed, so maybe we can dispense with the gilt. Rob
Weir
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