2008 Woodie Awards
CD Review: Mockingbird
5 stars
Jessica Bakeman
Issue date: 2/22/08 Section: FUSE
Originally published: 2/21/08 at 9:06 PM EST
Last update: 2/21/08 at 9:04 PM EST
Country tunes, acoustic ballads, bluesy tracks - if you like any of these musical styles, "Mockingbird" is an album that you can't miss.
Versatile is an understatement when it comes to describing Allison Moorer. The only thing that stays consistent from track to track is her fantastic vocal quality.
And that doesn't get old.
The title track, which begins the album, opens with a swift acoustic intro, and jumps right into Moorer's slightly country-style vocals.
The lyrics are a tad cliché, but fit the piece. Soon into the first track, Moorer showcases her pipes.
Her belt is a vocal strength that can be hard to find in a music world full of Ashlee Simpsons and Hillary Duffs.
Her voice is reminiscent of Alanis Morrisette, with songs similar to those of Sheryl Crow. It is a brilliant combination for this equally strong female artist.
"Ring of Fire," the second track on the album, is, in fact, a remake of Johnny Cash's popular tune.
However, this very original piece is slower than its predecessor, but is spiced up with a more legato vocal quality, synthesized melodies and sharp percussion.
For those who don't like country, the twang is tolerable - her style is what you might call pop-country. Shania Twain fans will probably connect with Moorer's work.
"Dancing Barefoot" is the first uptempo piece on the album, and continues the line of strong vocal tracks.
The song ends explosively with "Oh God/ I fell for you…" repeatedly belted over a dominating drumbeat. Talk about power!
Just when you were getting used to Moorer's style, she hits you with a traditional blues track, complete with simple, emotional lyrics and riffs.
Moorer shows that she is a jack of many trades.
"Go, Leave" features a violin introduction that persists throughout the song. This cut specifically features extremely clear vocals - you will feel like you are listening to a live concert.
This song also introduces a series of examples of Moorer's raw feel.
In her music, you can hear when the guitarist's fingers slip along the string. It is refreshing to experience an album that doesn't feel like it has all of the music edited out of it.
The sixth track, "Revelator," is the first track on the album that seems to drag. However, the harmonies are tight.
Moorer shows an lyrically analytical aspect of her music in "Both Sides Now," where she discusses how love can be a blinding force. But when one can see both sides of it - the bliss and the misery - it is really no more clear.
Blues fans will find the pinnacle of their enjoyment of this album in the eighth track, "Daddy, Goodbye Blues." This song will transport you straight into a smoky blues bar.
"Orphan Train" is, once again, a very different piece, reminiscent of African spirtuals.
Moorer's vocal strength and variety of musical styles will surely please listeners.
Versatile is an understatement when it comes to describing Allison Moorer. The only thing that stays consistent from track to track is her fantastic vocal quality.
And that doesn't get old.
The title track, which begins the album, opens with a swift acoustic intro, and jumps right into Moorer's slightly country-style vocals.
The lyrics are a tad cliché, but fit the piece. Soon into the first track, Moorer showcases her pipes.
Her belt is a vocal strength that can be hard to find in a music world full of Ashlee Simpsons and Hillary Duffs.
Her voice is reminiscent of Alanis Morrisette, with songs similar to those of Sheryl Crow. It is a brilliant combination for this equally strong female artist.
"Ring of Fire," the second track on the album, is, in fact, a remake of Johnny Cash's popular tune.
However, this very original piece is slower than its predecessor, but is spiced up with a more legato vocal quality, synthesized melodies and sharp percussion.
For those who don't like country, the twang is tolerable - her style is what you might call pop-country. Shania Twain fans will probably connect with Moorer's work.
"Dancing Barefoot" is the first uptempo piece on the album, and continues the line of strong vocal tracks.
The song ends explosively with "Oh God/ I fell for you…" repeatedly belted over a dominating drumbeat. Talk about power!
Just when you were getting used to Moorer's style, she hits you with a traditional blues track, complete with simple, emotional lyrics and riffs.
Moorer shows that she is a jack of many trades.
"Go, Leave" features a violin introduction that persists throughout the song. This cut specifically features extremely clear vocals - you will feel like you are listening to a live concert.
This song also introduces a series of examples of Moorer's raw feel.
In her music, you can hear when the guitarist's fingers slip along the string. It is refreshing to experience an album that doesn't feel like it has all of the music edited out of it.
The sixth track, "Revelator," is the first track on the album that seems to drag. However, the harmonies are tight.
Moorer shows an lyrically analytical aspect of her music in "Both Sides Now," where she discusses how love can be a blinding force. But when one can see both sides of it - the bliss and the misery - it is really no more clear.
Blues fans will find the pinnacle of their enjoyment of this album in the eighth track, "Daddy, Goodbye Blues." This song will transport you straight into a smoky blues bar.
"Orphan Train" is, once again, a very different piece, reminiscent of African spirtuals.
Moorer's vocal strength and variety of musical styles will surely please listeners.
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