Retrospective reflective records are a likely domain for
many seasoned artists, and Rodney Crowell has done just that with the release
of his brand new album CLOSE TIES. As you would expect from an artist of this
stature, the record is a classy effort perfectly capturing where he is as
retiring years for normal folk beckons. Of course Crowell has graduated from
pin up country star to one of the elder statesman of Americana music over the
duration of a forty five year career mixing it with the genres’ elite. New West
Records is once again the home of a Rodney Crowell release and this deeply
personal accomplished collection reveals an artist in tip top shape.
Three interesting thinking points cropped up during giving this
record serious undivided attention: Does it work without understanding the
context of a career? Can it reach out from Crowell’s admittedly large support
base? Is there any potential to create a late career cult revival ala Johnny
Cash?
Taking the first question, this album is heavy in the
contextual lyric department starting in chronological order with the distant nostalgic
‘East Houston Blues’ charting the turbulent
nature of a childhood which was destined for life at the core of music.
Industry name checking continues unabated especially in ‘Life Without Susanna’ (based on his love for the late Susanna
Clark) and album finale ‘Nashville 1972’
(take your pick from the numerous country legends who greeted Crowell on his arrival
to Music City many years ago). It is certainly recommended that you digest the
lyrical content as it will immensely enhance the enjoyment of where this album
comes from.
However the strength of the production, sophisticated sound
and elements of diversity will give the record credence to those who prefer to
just take in the vibes. Promotional track ‘It
Ain’t Over Yet’ and joint-favourite song with the closer ‘I’m Tied To Ya’ both contain heavyweight
duets to spruce up the listening fare. Crowell’ ex-wife Rosanne Cash joins in
on the first one alongside John Paul White, while Sheryl Crow adds an extremely
evocative vocal piece to the latter. Overall the sound is generally a little
gentler than some of his previous solo material, in particular THE OUTSIDER
album from 2005, although ‘Storm Warning’
does lift the pace a touch.
Without doubt fans of Rodney Crowell and his luminaries such
as Emmylou Harris, Steve Earle and Rosanne Cash will lap up the contents of
this record. Partly this is because his solo releases have been relatively
light in number over the last decade, although his pair of duet records with
Emmylou was met with widespread lauded acclaim. There is still a significant
market, particularly overseas in the UK, who may be graduating to Americana
music later in their listening music life and discovering an artist like Rodney
Crowell will be an added boost. So with every one of his releases there is
always potential to reach out to a new fan base.
On the final point of a cult revival, this is probably a
long shot on the back of anything truly radical or left field being missing.
You never know, there might be a contemporary collaboration one day that might
do the same that the American Recordings did for Johnny Cash at a similar age. This
is far too conservative for that impact; a notion that wasn’t on the table when
this album was being conceived.
Anyway free from hypothetical pondering, CLOSE TIES is an
album worth checking out regardless of the degree of your awareness and
appreciation of Rodney Crowell. The rich song writing and music making go a
long way to helping you understand why he has remained in the upper echelons of
his profession for a number of years.
www.rodneycrowell.com
