It’s nearly 10 years since Julie Roberts first appeared on the radar of country fans, and in the years since she’s endured more reverses than many artists, including losing her major label deal, losing her home in the Nashville floods, being diagnosed with multiple sclerosis, and last year being passed up for The Voice. Her career never quite fulfilled the promise of her distinctive emotion-filled voice; even her biggest hit, ‘Break Down Here’, barely cracked the top 20 even though it sold over half a million copies. I loved her two Mercury albums, but was left a little disappointed by her independent album a couple of years ago. Now, she has been signed to a revived Sun Records, and has new music.
Jason Collum co-produces and co-wrote many of the songs with Julie. The result is much stronger than her last record. Collum’s production is often low-key, mixing the country torch balladry at which Julie has always shone, with occasional rock and soul influences, but always allows Julie’s trademark sultry vocals to take center stage.
The outstanding song is ‘Daddy Doesn’t Pray’, written by Chris Stapleton. This is a very touching tribute to a religious father after his death. I also rather liked the album’s other religious song, the longing ‘Arms Of Jesus’, backed by subtle strains of churchy piano and organ.
Steve Earle’s ‘I’m Not Getting Any Better At Goodbyes’ (recorded in the early 90s by Mark Chesnutt) is a reminder that Earle, better known for his country rock and political songs, can write a stunning country ballad when he chooses, and Julie does the song full justice.
‘He Made A Woman Out Of Me’ is a Bobbie Gentry cover, and the production and arrangement of a southern teenager’s sexual awakening. The vocal is convincing enough for it to be an enjoyable track, although the production is like the original to the point of sounding like a pastiche.
Buddy Miller harmonises on his own ‘Gasoline & Matches’. Julie sturdy version is less frenetic than others I have heard, including the recent cut by LeAnn Rimes, allowing the lyrics more prominence. This is a very good recording which grows the more you hear it.
Vince Gill guests on the lonesome ballad ‘Old Strings’, which Julie sings beautifully as she agonises over her continuing feelings for an ex. A lovely melancholy feel and tasteful arrangement make this another highlight.
The seductive ‘Keep Me Up All Night’, addressed to a husband who has let the romance fade, which Julie originally wrote for her debut album a decade ago with Kent Blazy and Cory Batten, but never recorded, is pretty good, and was worth pulling off the shelves.
The title track is an excellent song about a one-night stand with an old flame, regretted almost before it takes place. This should be ideal for Julie’s sultry voice, but unfortunately her pitch sounds noticeably off in places.
‘I’ll Close My Eyes’ is another excellent song about a woman refusing to acknowledge her husband is leaving, with a soothing melody and an understated acoustic arrangement. ‘Old Habit’ is another instant classic, a despairing ballad about facing the last vestiges of a relationship, with a desperate Julie realising her lover is treating her as a convenience. The phrasing and emotional interpretation are beautifully judged.
Some of the material stretches the boundaries a little. The harmonica-led bluesy country-rock of ‘If I Were You’, addressed to a neglectful lover by his partner in adultery, is quite catchy, with a heavy drum beat anchoring the rhythm; the harmonica is played by Willie Nelson sideman Mickey Raphael. The rocking ‘When It’s Over’ is not quite as good, seemingly at odds with the downbeat lyric and not quite right for Julie’s voice. The minor keyed ‘Bones’ is a fairly faithful cover of a song from British retro-soul singer-songwriter Michael Kiwanuka. It’s not country, but Julie sings it well and it is certainly an interesting choice. The bluesy soul of ‘Wrong About You’ works better for me.
The liner notes are in unreadably tiny print and essentially useless. The music, however, is mostly very good; a little more adventurous than her major label work, and a definite advance on her last release. if you’ve missed Julie’s bluesy voice, this is a very worthwhile purchase or download.