Eilen Jewell – Gypsy
Signature Sounds Recordings – 16 August 2019
In the heartland of the country music fraternity there remains, in the 21st century, a conservatism that seems to relegate what always sounds to me like the most exciting new music to the side-lines. I stared in open-mouthed disbelief recently, watching a documentary about Loretta Lynn, upon hearing how her long-term fans and even close relations were dismissive towards the album she made with Jack White. To my ears it was a fantastic album, bringing an important country icon’s sound up to date with an authentic butt-kicking edge that surely introduced her to younger ears. But no, back on home turf they weren’t too impressed by this long-haired imposition. And let’s not forget how ostracised the Dixie Chicks became after making on-stage derogatory remarks towards George Bush. And again, I always felt the Dixie Chicks were creditable standard-bearers for country music’s modern progression. Great tunes too but again no, it would appear that simply making fine music isn’t going to cut it with the hardcore if the message strays towards the left. So, I fear a little for Eilen Jewell when she sings on her latest album “but if her skin is brown, her pay goes down, it’s a nickel to the white man’s dime. But don’t complain or they’ll call you insane, people call me left-wing swine. Hey hey, it’s alright it’s OK, people call me left-wing swine”.
That tune, ’79 Cents (The Meow Song)’, is a well-aimed takedown of sexist, racist, misogynistic attitudes and inequalities that should resonate loud and true today. But make no mistake, there are sections of the country music audience who are not going to be singing along with this. That’s where the battle for an artist like Eilen Jewell is right now. For 14 years she’s had a recording career in which her own grain of country has sprung forth as naturally as cool, clear water. As early as 2009’s ‘Sea Of Tears’ she was already sounding like an artist who, rather than being on the way up, was already at the table and making music that demanded attention. The sound was authentic but not an imitation; Eilen clearly had an enthusiasts feel for western swing but she’d grown up in the age of rock music and all of this filtered into her sound. Consequently, there’s an energy to what she produces, this never sounds like music recorded sitting down. She can swing, she can rock and she can really make you feel something but not just that; with a core rockabilly essence she can check you into the heartbreak hotel for the night and you’ll obligingly let the keys drop into your hand for as long as you’re told to. Eilen Jewell does what she does with authority.
So here we are in 2019 and an already impressive looking catalogue of Eilen Jewell records is joined by her eighth (not including live albums and other strays) album proper. Like artists always do with a new addition to the family, she’s calling it her favourite album yet. But the protagonist can rarely realise meaningful perspective on their own work so it’s down to us listeners to assess the legitimacy of that claim. Well for me I’m going with it, if this is indeed her favourite then Eilen is on the money. I’ve been listening to and enjoying her work for over a decade now and ‘Gypsy’ immediately sounds to me like the album I would go to when trying to introduce the uninitiated to Eilen Jewell. There’s an immediacy to it which helps of course; opening number ‘Crawl’ tells us that Eilen wants to “crawl right out of my skin” but it arrives on the scene far more assuredly than that. It positively struts out of the speakers like the bastard child of ‘Shaking All Over’ (with added fiddle). When an album can hook the audience in the first 30 seconds like this track surely will, it’s normally a sign of good things to follow.
What satisfies about ‘Gypsy’ the most is it’s an album of Eilen Jewell original material that works from the full palette of colours dipped into throughout her career thus far. She’s an artist with range and everything’s on display here. I love her lush, rootsy aural texture but that can trip you into overlooking what a lovely singing voice she possesses. ‘Miles To Go’ dampens down the sonics and allows the vocal to inhabit the centre stage, so that command of pitch and poise adjusts into clear focus. Then ‘You Cared Enough To Lie’ allows her Bob Wills and His Texas Playboys juices to flow; once again this is no mere copycat devotion but more like an artist giving proper service and attention to a song’s specific needs. For evidence of variety, notice how at times the production (‘Beat The Drum’ for example) echoes the deep muddy textures Daniel Lanois achieved on his work with Bob Dylan. That’s followed by some delicious banjo picking on the title track and another gorgeous vocal that floats up to the clouds. Later still, ‘Working Hard For Your Love’ sweats itself out in the heat, flexing as much muscle as required to push a piano up the stairs.
‘Gypsy’ is one of those rare things, an album containing a perfect dozen songs without a single dud track. Clocking in at 37 minutes, it doesn’t outstay its welcome and there isn’t a split second that will lose your attention. If all were right and just in the world, Eilen Jewell would one day take her place amongst the country music legends. But if that day never comes, her music at least will stick around and defy the limitations of genre pigeonholing and political prejudices. That’s because she is singing with honesty and passion; and doesn’t the truth have a habit of rising to the top eventually?
Gypsy is out this week on 16th August. Order via Amazon.
Photo Credit: Joanna Chattman