Kentucky-born Shelley Skidmore co-wrote (with Brandy Clark and Shane MacAnally) a song I loved a few years back when Joanna Smith recorded it – ‘We Can’t Be Friends’. Now she has released her own five track EP (produced by Paul Worley), and proves to have a fine voice with a smooth tone, and a genuine country sensibility. In a recent interview she cites her favorite albums of all time as Lee Ann Womack’s There’s More Where That Comes From and Patty Loveless’s When Fallen Angels Fly – definitely an indicator of someone who loves traditional country music and knows great songs when she hears them.
The excellent ‘White Picket Fences’ was written by Shelley with Brandy Clark and Jessie Jo Dillon, and it’s a very typical Clark story song. It paints a scathing picture of the guilty secrets lying behind both a small town’s respectable surfaces, which are not so very different from the open sins of the dreaded big city:
It’s all white picket fences
It’s all pink and purple pansies
Its the face of small town grace
The perfect place to raise a family
We’re all scandal
We’re all scripture
We’re all smiling for the picture
It’s alright because it’s all white picket fences
A little bit of tasteful brass adds a jocular air.
This is the only song on the set Shelley had a hand in writing – it’s a shame she didn’t include her own version of ‘We Can’t Be Friends’.
The very best song on the album is another Brandy Clark song, this time a co-write with Troy Verges. ‘Pawn Shop’ is a modern classic of a story song, as a woman pawns her wedding ring to raise the money for a bus ticket away from her bad marriage:
It ain’t stolen
It ain’t hot
Someone told me it cost a lot
Man ain’t that the truth
I thought I’d wear it my whole life
It never even crossed my mind
Back when it was new
It’d end up in a pawn shop on Charlotte Avenue
A musician then hands over his beloved guitar, and with it gives up his dreams. And the dreams of both love and music will pass to other dreamers in their turn. This is beautifully written and sung, and deeply moving.
Shelley’s husband, Greg Bates, had a shortlived career with one hit a few years back. Greg never released an album despite a top 5 single, and seems not to have enjoyed the touring aspects of being a star. He duets with Shelley on the ballad ‘What You Need From Me’, a beautiful sad song about a failed relationship written by Jon Randall, Jessi Alexander, and Phillip White:
Woman: You need a trophy on your arm
So you don’t look so lonely
Someone to get you through the nights
Someone to start your morning coffee
Man: You need a man that you can count on
Someone who’ll finish what he started
Not a restless soul that comes and goes
And only leaves you broken hearted
Both: I’m so sorry that I’ll never be what you need from me
With regret they acknowledge their mutual failure to meet the other’s needs. Greg sounds very good here, and it’s enough to make me regret the loss of his career as a solo artist before it had really got going. The tasteful and understated arrangement is very traditional country, with some lovely steel and fiddle.
The one song that doesn’ t appeal to me is the jaunty ballad ‘Making Babies’, written by Shane McAnally, Josh Osborne, and Matt Jenkins, about pressure from the in-laws to start a family. It is neatly written but the melody is the least country sounding on the album, and doesn’t quite work for me with the song.
The album closes with the quirky ‘Back In The Saddle’, a 20 year old Matraca Berg song which Berg recorded on her 1997 album Sunday Morning To Saturday Night Shelley’s version uses the same arrangement, with backing vocals from Berg, Deana Carter, Kathy Mattea and Brandy Clark. It’s very entertaining and ends the too-short set on a high.
This is a great EP I very much enjoyed. I only wish it was a full length album.