I Can’t Wait
Red Beet Records
4½ Stars (out of 5)
Rather than complain about the lack of ‘country’ within current country music offerings, how about we do some work and go looking for music that will satisfy our desires?
One might certainly start with the likes of Ashley Monroe, Brandy Clark, Kasey Musgraves, and Holly Williams. Lee Ann Womack’s latest would be another fine place to visit. Craig Moreau and Doug Seegers recently released albums that would decidedly fall within most folks’ definition of country, and don’t forget Chuck Mead, Jim Lauderdale, Rodney Crowell: call ‘em Americana if you like, but that’s country, too.
Which brings us to Fayssoux McLean, someone that many have heard but many more will not recognize. Back in the last century, Fayssoux Starling received vocal credit on early Emmylou Harris albums, ones that should be on most of our shelves: Pieces of the Sky, Quarter Moon in a Ten Cent Town, and Blue Kentucky Girl. While she counts Harris, Linda Ronstadt, and the aforementioned Crowell as admirers, Fayssoux (her albums are credited to her first name only) has released only a single album previously (2008’s Early,) one of the first to earn the Red Beet imprint.
I Can’t Wait is a pretty exquisite country music album. Again, call it Americana if it makes you feel better, but with its emphasis on instrumental support, vocal clarity, songs of quality, and clean production, this reminds me of the finest country music I’ve heard. I am well aware most country music isn’t acoustic (as this album is), and I’m also well aware that not all country music sounds like this, and thank goodness for that because we don’t need twenty identical albums released every month.
Fayssoux has a vocal approach that is assured, but measured; she isn’t out-belting the karaoke Patsy Clines and Miranda Lamberts. She sings with just enough passion and spirit to allow the song room to breathe. She sings, “You may rise, you may fall, that’s the way it rolls…it’s hell on the poor boy,” within RB Morris’ dark song (“Hell On A Poor Boy”), and you wonder how others have left this song unrecorded. Given a female voice, another layer of desperation is revealed within “Mama’s Hungry Eyes,” likely the most recorded song on the album, and there is no reason “When the Thought of You Catches Up With Me” shouldn’t be on every country playlist this autumn…well, beyond the obvious quality it represents.
Fayssoux contributes five originals to the set, each of which can unabashedly stand with the songs from Lauderdale, Kieran Kane (and Sean Locke and Claudia Scott), and Mose Allison not already referenced. The swinging “Ragged Old Heart” recalls a long-gone time (and has some beautiful fiddling from Justin Moses to boot,) while her co-write with album co-producer Peter Cooper, “Golightly Creek,” captures an entirely different mood within its reflections and remembrances.
A pair of songs Fayssoux co-wrote with Cooper and the album’s other co-producer Thomm Jutz are the shining jewels within an album of gems. “Running Out of Lies” (“I’m running into trouble ’cause I’m running out of lies”) is worthy of Harlan Howard, and the Civil War-themed “The Last Night of the War” softly conceals its intensity within its bouncy bluegrass-infused trappings.
With core instrumentation provided by Fayssoux (acoustic guitar), Jutz (more acoustic guitar), Brandon Turner (even more acoustic guitar), as well as Sierra Hull (mandolin, natch), Moses, and Mark Fain (bass), the album benefits from acute vision. Cooper and Donna Ulisse provide vocal harmony, as do Jutz and Turner, again lending to the cohesive qualities of the album’s production. The addition of the splendid “I Made A Friend of a Flower Today,” recycled from the Red Beet Tom T. Hall set of a couple years back, does nothing to upset this balance.
Do you like gentle country music? Appreciate superior lead and harmony vocals within country music? Crave the clean lines of acoustic music and the clarity fine songwriting affords a listener? I Can’t Wait, out last month, should provide the satisfaction such descriptions suggest.