Lainey Wilson makes a rapid return to the ranks of recording artist status with a stylish album full of magnetic striking appeal. This Louisiana-born singer-songwriter makes an attentive entrance via the vogue-like cover and draws you into a depth of country flare, or flair - take your pick. BELL BOTTOM COUNTRY is an enthusiastic album packed with a breadth of sounds protruding out from the comfort of the well-resourced Nashville mainstream. The production is staple yet refined with a finished shine polished to dangle in front of both insatiable junkies and discerning veterans. This is one of Wilson's strengths that draws her out from the pack of those jostling to be the contemporary face of a genre. The pop gloss is kept to a minimum to allow heaps of southern affection to ooze from the songs that are quintessentially country.
This album is another release on the BBR Music Group / Broken Bow Records operation similar to 2021's ear catching SAYIN' WHAT I'M THINKIN'. Wilson is once again at the heart of the writing and is credited on all but one of the fourteen tracks. In line with releasees of this ilk, a team of writers is at the helm of each track usually three but a couple of times extended to four. The common thread is Wilson's presence that suggests most of the influences stem from her own heart, inspiration and experience. The odd track out pushes the album to the near fifty-minute mark with a cover of 90s transcendental pop rock hit 'What's Up (What's Going On)' likely to be a fun inclusion from some sort of live outing.
While a multiple of sounds are experimented with on this otherwise tight-knit release, the ticks get extra prominence when things slow down to a more pedestrian level to allow the drooling essence of a wide vocal range to explore their tender side. 'Watermelon Moonshine' is a classy nostalgic number that could grace any album exploring the roots of a genre. In an inimitable style, 'Weak - end' is a play-on words-country barroom effort that has all the hallmark of a late night contemplative piece. Providing the icing to a tingling threesome is the reflective ditty 'Those Boots (Deddy's Song)', which on several levels is a higher octane micro companion to Miranda Lambert's 'House That Built Me'.
There are a thread of words across the titles that in context could only come from a country album. 'Hillbilly Hippie' kicks things off with a a dose of lifestyle twang and certainly aligns with the cover. 'Heart Like a Truck' does bin the cliche with its lyrics and takes the vocals into diva territory with a full wind up in the closing stages. 'Me, You and Jesus' covers many bases with its inclusion to conclude this second title-inspired trio.
Early in this record we get a slant on Wilson's ability to turn to a head shaking country rocker with a burst of energy on 'Road Runner'. In contrast, a funky undercurrent anchors 'Grease', while a a rootsy start to 'Hold My Halo' shows a glimpse of promise of where the album may have gone on another day. The reality is that Wilson rubs shoulders with the current crop at the top of a label-driven scene, while possessing a tilt that does fuel a diversity stance.
From the remaining quartet that complete the set, the rousing chorus to 'Wild Flowers and Wild Horses' is probably the pick. 'This One's Gonna Cost Me' is a rich slice of rock 'n' pop that pulls the record slightly away from its country core with no real damage done. 'Atta Girl' and 'Live Off' cling to okay status, but probably question whether a slimmer album could have been a sharper more incisive release.
Right through the chimes, twang and sass of BELL BOTTOM COUNTRY you never lose sense of Lainey Wilson's confident strive for an independent stance and a heartfelt yet fun home for her organic songs. The style and sound shape up significantly on a record bursting at the seams to get a deserved cross bench round of recognition.
