Kim Richey epitomises quality and longevity in Nashville songwriting circles. Over a thirty year career, this Ohio native/ long term Music City resident has rubbed shoulders with the finest, curated a fanbase around the world and has proven a guiding light to aspiring artists determine to hone their craft. A legacy is intact even without a significant new release, however the renewed vigour shown in EVERY NEW BEGINNING suggests any final career chapter is put firmly on hold. Richey proves a champion of chiselling every meaningful second from a tight template as ten fresh songs herald a new record matching up with the very best from primely stocked catalogue.
The title emphasises a career reset and the launch of a new phase. We learn from the blurb that Richey is constantly writing, and when an album opportunity arises, past scribblings and inspirations are scoured to turn prototypes into finely tuned components. The sum of the choices to fulfil this offer by Yep Roc records for a new chapter to evolve are a bouquet of beauts with a single solo write and nine co-written efforts making the final cut. This split leans heavily on Richey's forte of fermenting fine pieces from combined efforts.
Two sparkling album gems were born from writing sessions with Aaron Tasjan, an esteemed artist in his own right. 'A Way Around' and 'Joy Rider' glisten in the first half with the former oozing class while housing the cracking line - 'drop the needle on your favourite sad song'. The latter relates to a real life character riding the streets of locked down Nashville with prestigious hooks and a killer chorus creating an alluring number full of positive vibes. For me this concludes as the joint high spot alongside the penultimately placed 'Feel This Way', a song co-written with Jay Knowles built for the stage. A powerful message pours from a piece adorned with an electric guitar segment. The urge to to join in with 'it hurts like it's always gonna feel this way' never relents.
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| Photo by Stacie Huckeba |
The music of Kim Richey has long swayed between country, folk and sophisticated pop. Perhaps the first of these genre styles features most prominent in 'Come Back To Me' where the co-writing services of Ashley Campbell were enlisted. Effects of banjo, mandolin and violin help the sway towards this verdict. A song that stands alone is 'Take the Cake', largely due to a slim down studio presence of just Richey and an adorable string arrangement of violin, viola and cello. Simplicity rules in this second solo written song to appear on the album. Another outlying track is 'Floating on the Surface' where the production was done separately in the hands of Richey and co-architect Roger Nicholls. The theme possesses a metaphorical feel with the repetition of 'over our heads, over our heads, we don't want to get in over our heads' coming over well.
There is a fleeting sound addition to 'The World is Flat' with flugelhorn making an appearance in a song enhanced with a poignant and extensive lyric content. The horn also features in the reflective closer 'Moment in the Sun'. This poetically written and elegantly sung effort brings the curtain down on a sumptuous collection of sumptuous songs.
EVERY NEW BEGINNING showcases the music of Kim Richey blossoming in a fresh bloom. From its exquisitely produced status to a welcome addition to a wealthy canon of previous work, it carries all the hallmark of a Grammy bestowed career and luckily one where the UK has been a focus for many years. Songs are key to any successful album; a trait amply excelled here.