Of course, with the music versus the backstory debate, the
music should always come out on top, but things fit into place better when both
complement each other to perfection. Therefore, primarily FELONY BLUES by Jaime
Wyatt is an exceptionally good mini album. The phrase ‘such swagger’ is
borrowed on this occasion, with the biggest fault only being: why stop at seven
tracks. There is probably a practical answer to that question, but it is a
tribute to the architects that you are left aching for more after an exhilarating
half an hour.
The enamoured sound of Jaime is based on the smart ability
to unite country music with its near cousins, the alt variety and Americana,
and spin it into a bunch of half a dozen highly palatable songs ready made for
the sweet ear. The backstory is a little more downbeat as much of the record is
based on Jaime’s experience on the wrong side of the prison walls after an
addiction-fuelled altercation. Whilst not being the first country artist to
channel rehabilitation into first class music, this whole scenario can prove to
be additional selling point. Not that this is necessarily needed, as those who
solely base their judgement on unfiltered listening will certainly be won over.
Jaime’s Californian heritage, base and influence can be factored
into the interpretation of her music. Naturally, it falls on the fault lines of
distinctly retro and delicately contemporary. A cool freshness aids a torpedo
effect into modern country fans preferring an independent edgy approach, while
timeless qualities help span the generations. Also a cover of ‘Misery and Gin’, initially recorded by
Merle Haggard, further pushes up the credibility in some quarters, although
this track tends to crown the record rather than prop it up.
The swirling guitar, lovely beat breaks and rousing chorus
of opening track ‘Wishing Well’ go a
long way to defining the record and it is hard to think of a stronger track
that opens an album in 2017. Those who base a lot of credence on the first song
setting the tone will be delighted with this offering and duly rewarded with
pursuing the remainder of the content. The follow on track ‘Your Loving Saves Me’ is not short on sass or exquisite twang and
yet another chorus that has little difficulty in finding a hook in your mind.
By the time, we get to the delectable ‘From Outer Space’ when the steel kicks in, the implicit narrative
fizzles with heartfelt pleas to a lover. Maybe this is a track that has to
fight hard to be heard alongside its compatriot juggernauts, but the strength of
an album is often defined by its base and FELONY BLUES has a very strong one.
We get into the serious side of Jaime’s writing by the time the
fiddle inspired ‘Wasco’ explodes in
the listener’s midst. It is assumed this is the institution that she spent time
in and the lyrics fire off in several directions while reflecting a great deal
of conflicting emotions. It also puts a completely different slant on the term
graduation day. ‘Giving Back the Best of
Me’ is a tenderer offering utilising the steel well as Jaime slips into a
poignant gear while in ballad mode. Another valid reason to extol the virtues
of this being a neatly balanced collection of tunes, appealing to several sides
of a listener’s preference. ‘Stone Hotel’
is the penultimate track before the Haggard cover pulls the shutter down and is
another successful attempt to dress a serious point in a tune that blossoms so
well upon first listen.
FELONY BLUES is an album designed to make an instant impact
without a layer of throwaway packaging. It presents Jaime Wyatt as a country
artist to place on your 'get to know' list and one you won't regret liaising
with. A sentiment launched into cyberspace by Rolling Stone’s anointment of her
as a “New Country Artist You Need To Know”. You may ask what do they know, but
in this instance, they are spot on.
www.jaimewyatt.com
