From the tones of the title track that introduces Grace Morrison as a recording artist, you feel in the presence of someone without pretence. In fact the overarching effect is one of carefree abandonment, yet still cautious of where the music is going to get picked up. Whatever is the desired outcome, sprinkling the sound with the delicate twang of Lloyd Maines's pedal steel guitar is going to court the country fraternity and enamour a wing that doesn't mind a wander down pop's luscious and spacious highway. DAUGHTER is a classic case of sharing the personal in a way to engage the many and the approach taken by Grace Morrison is an alluring one to boot.
Across the twelve tracks that have been committed to evolve DAUGHTER into a product of enhanced substance, you get themes from a perceptive stance that are as open to admirable interpretation as that of just kicking back and loving a sound that has formed a soundtrack for many years. Associations can help describe a record, but often these can be of the personal variety with a minimal link to any wider acknowledgment. Right from the off, the opening track, 'Daughter', is very relatable to the work of Ashley Campbell , both in the vocal style generated as well as the shared theme that has defined the latter's music to date. Three or four tracks into the record, thoughts turn to Whitney Rose especially when the steel turns into turbo mode during 'Free'. More general tones point to the time in country music around the turn of the millennium where the the commercial presence of female acts sped up the dial in terms of sales, numbers and impact.
The true worth of this Grace Morrison record is that it is tempting, unyielding and determine to be inked on the page rather than pencilled in and left open to the cursed eraser. It also captures a variety of moods should you wish to be thoughtful, frivolous or in a mode when you just don't give a damn. 'Put the Bottle Down' takes the temperature of the record, and how taken can define where the record sits in your horizon. Once this was welcomed into the fold the rest of the content slipped easily into the realm of rewarding any chosen time spent with a record of exceedingly affable charm.
By the time we get to 'Woman Like That', a song seemingly heard many times before and that is meant in a good way, it is job done, and a record as American as any primed to reach out and promote a sound far and wide is born to flourish. Just one addendum at this point, whatever multitude of sounds unfold ending with emotive ballad like 'Mothers' seals the deal.
As DAUGHTER approaches the end of the line (well a least one phase of life), Grace Morrison can temporarily take a bow and bask in the effect that her endeavours and wise moves have paid dividends with an album listeners can comfortably evaluate, experience and ultimately enjoy.