The rose colour of her home has switched from white to red
over the formative years of a burgeoning career, but the prosperous blooming of
the music should entail a nationwide interest for starters. Rather than hooking
on one specific genre, Lauren draws upon inspiration from country, soul and
blues to form this ten track collection, rich in fine song writing and
utilising the collective authority of an established list of players to enhance
the production. The hooks are rampant throughout the record with pedal steel
weaving in and out of many tracks, supremely blended in places with Wurlitzer organ.
Without a cover in sight there is a timeless magical appeal to Lauren’s songs
which are all sung with incredible feeling and emotion.
Lauren and her long time musical collaborator Thomas Dibb
have been writing songs for eight years so the journey to this release, and
subsequent media attraction via Radio 2 interest, has been lengthy and no doubt
fraught with many lows punctuating the highs. Both take equal credit for each
of the ten tracks which are all presented free of pop pretence and serve a
modern focal point to what constitutes a great song. Scanning down the list of
players reveals two guys who have previously crossed my path both live and on
record. Scott Poley recorded and toured with Cara Luft in the past, while Chris
(CJ just to differentiate!) Hillman has proved an in-demand pedal steel
guitarist, with Billy Bragg regularly using his services.
‘Nice to See Ya’
is an audibly moving song which announces the album’s arrival and sets the
tone with a valid attempt at being the record’s ‘first among equals’. It
definitely resides in the positive camp of songs as the album unveils as a
mixture of the blue and brighter sides of life. To link in the more buoyant side
to the writing of Lauren and Thomas, ‘All
You Need is a Friend’ closes the record some forty minutes later in a
similar state of mind and beautifully supported by a piano intro.
On the topic of great intros, what can go wrong with a
blues-tinged harmonica one and the answer is nothing as evidenced by the title
track ‘Sweet Surrender’. Sounding
very much like Allison Moorer at her finest (and that’s high praise from this
pen), the track oozes with a streak of southern charm that could have evolved
from any point from Nashville, Tennessee to New Orleans, Louisiana, but remains
firmly entrenched in Manchester, UK. Alongside Ms. Moorer, the other
contemporary vocalist who springs to mind when listening to Lauren is Jennifer
Nettles, obviously minus the extreme southern twang, but with equal passion and
fervour. ‘It Ain’t About You’ with
its archetypical country theme of family disharmony is the song which probably
best emphasises this comparison.
You can take your pick whether you prefer the upbeat or the
ballad version of Lauren with the latter style being supported with a quartet
of fine songs headed by another challenger to the best track mantle. ‘When Autumn Came’ is that killer classic
sad song and the one where Hillman adds the steel as well as displaying the
traits of a well written number in terms of lyrical make up. ‘Face the World’ is in true tear jerker
mode where the steel merges extremely well with electric guitar. ‘If You Were Mine’ and the painstakingly
heartfelt ballad ‘Show Me What Love is’
complete this quartet with the former being the most tender of the four.
The soulful side to the record excels in two tracks to take
the record up to that desirably complete round number of ten. ‘The Waiting Game’ may be representative
of the lead up to this release and its solid groove underpins a track heaving
with wonderful Wurlitzer and a breezing input of horns. ‘Ghost Town Blues’ has been the song scheduled for commercial consideration
and its soul stomping qualities house plenty of spotlight appeal. Think a
little bit of Stevie Wonder’s ‘Uptight’
and you’ll be on the right track. A radio edit exists on some versions of the
album, leaving a personal judgement on preference which from these quarters
will always lean away from the orchestrated commercial.
It is an understatement to suggest that this record made a
profound impact. The package is complete and Lauren makes a without compromise
stab at stardom. There is ample substance to unite the ardent roots purist with
the wider world and launch a talent deservedly of a larger platform. Whether
this review waves Lauren Housley off into the commercial world remains to be
seen, but being totally engrossed in SWEET SURRENDER has been a joyous
experience.
