Album Reviews

Former child star and Rilo Kiley front-gal Jenny Lewis may present herself as a latter day Charo, but she’s not afraid to plant serious concerns within her art, both in Rilo Kiley and in this earnest solo setting backed by Louisville natives The Watson Twins.

The attractively produced country/rock set sounds jaunty on the surface, abetted by Lewis’s soothing lullaby-like voice, and the cowpoke old school country rhythms and acoustic guitar strums but Lewis’ takes on American society and culture are caustic, cutting and above all thoughtful.

“You can’t change things,” she berates the listener on “Rise Up With Fists,” in which she mocks plastic surgery, analysis, false, hypocritical prophets, sleeping around and societal pressure to remain youthful and beautiful. Watson covers those and more in the song, managing to sting without sounding angry.

On the next track, “Happy,” backed by twangy acoustic guitars and some pedal steel straight out of ‘60s Nashville, she sounds soothing singing about staying in a relationship or cutting and running.

“The Charging Sky” merrily skewers everyone and everything under a jaunty beat, including society’s failure to do enough about AIDs in Africa, her folks’ trying to recapture their youth and a dozen other complaints, all using kindness and soothing cooing to kill, backed by the sweet-sounding Watson sisters.

Shuffle beats, softly struck snares, “Countrypolitan” ‘60s lounge slickness knowingly added with a wink make “You Are What You Love,” an irresistible treat, though it’s a song about the tortures and difficulties of entangled relationships.

Lewis’s unfailing sense of irony and subtle, underplayed, almost detached sarcasm give these tunes an inviting, unexpected buoyancy. Start with the title song and you’ll understand the delicious, smart mindset Lewis brings to the table in Rilo Kiley and here. If you don’t pay attention she’ll go right over your head. Sell her short and you’ll miss out on a delicacy worth relishing.

The cover of The Traveling Wilbury’s “Handle Me With Care,” with guests Ben Gibbard (Death Cab For Cutie, The Postal Service) and Conor Oberst (Bright Eyes) is a soufflé’d delight and the fifties girl grouped “ I Was Born Secular” would delight and entertain a hard critic like Frank Zappa.

She’s smart, she’s sexy (forgive me, Jenny), she’s subtle and thoughtful and she works the emotions from the dark fringes with an overlay of champagne bubbles. What can I say? I’m smitten by Lewis and this disk.

As for the recording and package, it’s a nicely turned out 180g pressing, loaded into a jacket you’ll appreciate having full-sized. There’s a sweet mother and child full color poster included and when you’re finished listening, looking and touching, you’ll feel you’ve gotten your money’s worth from someone trying to reach you on all fronts.

The producer and engineer did their best to create a good sounding record but they only partially succeed. While the tracks have been smoothly and carefully recorded and mixed with a fine sense of organization, there’s a cheesy digital reverb overlay that reduces the palpability factor and makes it all sound as if it’s locked under a shimmering glaze. In the “old days” of pre-digital effects and/or recording, this could have achieved the intimacy the technicians seemed to strive for. Oh well. There’s still fine clarity and overall they make a pleasant sound that’s as easy on the ears as Lewis’s voice and the skillful arrangements back her.