RIYL: Emmylou Harris, Patty Griffin, Dolly Parton
One would be hard pressed to find a better representative for Americana music than Nanci Griffith. If that statement appears to ring of hyperbole, then suffice it to say that a single listen to Griffith’s outstanding new album, The Loving Kind, ought to provide all the proof necessary.
As her fans will attest, Griffith’s made great albums before – Other Voices, Other Rooms and Late Night Grande Hotel being two of the more obvious examples – and each affirmed her penchant for repositioning heartland traditions and serving them up in a way that’s both endearing and affecting. However, this set takes a new turn, upping the ante with a series of emotionally tattered narratives accompanied by heartfelt sentiment. It commences with the title track, an unflinching view of an interracial courtship that defied the mores of the early 20th century, and transitions into other equally incisive offerings. The songs that follow continue this theme, delineating those who have been marginalized by society – a man framed for a crime he didn’t commit (“Not Innocent Enough”), those in search of brighter horizons (“Across America”), the woman who mourns the fact that marriage has saddled her with unwanted responsibility (“Party Girl”), a farming family’s sense of futility and desperation (“Cotton’s All We Got”)… not to mention her mournful tribute to fellow songwriter Townes Van Zandt, whose immense talent couldn’t prevent him from unraveling (”Up Against the Rain”). Each vignette is delivered with unabashed authenticity – fiddles, pedal steel, mandolin and a gentle ramble – creating a compelling listen that’s gentle on the ear and yet still pressing on the soul. (Rounder 2009)
Although he first emerged from Christian pop realms, Derek Webb has never found himself constrained by either dogma or dictates, especially as they apply to his own soft rock excursions and those that he pursues with his talented wife, singer/songwriter Sandra McCracken. However, anyone familiar with his music up until now might be somewhat confounded by Webb’s current switch in sound. Webb’s always aimed for accessibility, but here he deviates from that tact, opting instead for an atmospheric motif, some techno trappings and hip-hop beats to maintain his muse. On first listen, it sounds like an attempt to substitute dance club fare for the thoughtful approach that distinguished his previous efforts and indeed, Webb keeps things moving at a kinetic pace. However, while the undulating ambiance sometimes seems distracting, additional listens reveal some subtle nuances. In fact, it’s those moments of mellow respite – the gentle ballads “The State,” “Heaven” and “American Flag Umbrella” in particular – that make Stockholm Syndrome easier to abide. 
