So many of the great female singers that have come down the pike during the last ten to twenty years have come in the Americana genre, and Allison Moorer is one of those. With albums like MOCKINGBIRD, THE DUEL, MISS FORTUNE, and GETTING SOMEWHERE, she has set herself up as a consummate artist--not an easy thing to do in a genre whose artists steadfastly refuse to throw their lot in with the corporate country music establishment that has lauded Carrie Underwood and Taylor Swift to the hilt. She's a natural maverick, not unlike her big sister Shelby Lynne or husband Steve Earle, one of the true rebels of recent decades. She just has a different way of showing it on her albums, and CROWS isn't any different.
With the exception of the twelfth track, "It's Gonna Feel Good (When It Stops Hurting)", which was written by the album's producer R.S. Field, everything on CROWS is from Allison's own pen, and her very stately and relaxed, acoustic rock oriented sound, splashed with occasional string sections, mandolin, and pedal steel, makes this a thoroughly listenable album. What is unusual about it, however, is how so many of the songs are in minor keys, giving them a mysterious, eerie quality, and the fact that Allison spends as much time at the piano as she does on guitar. Contrary to how that might sound, however, she doesn't try to imitate Norah Jones on any of her songs, either in vocal inflections or in sound; this album is still uniquely her, and her voice is as refreshing as on her past albums.
Allison, in other words, has done it again; she has made an album that will likely feature in a few Top Ten lists, including mine, when 2010 comes to a close.