Customer Reviews

Identity Crisis

5 star:		(20)
4 star:		(10)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

This album is a huge relief. After her last record 'Love, Shelby'(following on the heels of her Grammy-winning 'I Am Shelby Lynne'), we thought we had lost her. She certainly had lost us. Everything about that cd was wrong, from her sex-kitten poses on the covers (well, maybe not that wrong), to the mediocre material, to the strident and overbearing production by 'hit-maker' Glen Ballard, who mistook Shelby for Alanis. Now with a new record company (which, along with the insinuating title of the current cd, leads us to believe that her last effort was not all her doing) and with herself at the creative controls, Lynne has made a very successful return to form. The songs, all written by Lynne, are tuneful and personal. Her honey and grits vocals are mixed up-front, so she feels like she's in the room. Her versatility is demonstrated with bits of rock, country, blues, gospel and, of course, those heart-tugging ballads. Confoundingly, with her 'Identity Crisis', Shelby Lynne seems to have hit her stride. If so, her future bodes even better.

Thank heaven this album is more "I Am Shelby Lynn" than "Love, Shelby".
Working with Glenn Ballard (Alannis's producer) was such a crucial miscalculation - and probably took a lot of steam out of what was a career height in the wake of Shelby's Grammy winning "I Am.." project. Here, Shelby returns to her strengths - serious Memphis-style soul, country ballads that ache and uplift, and instrumentation that accompanies, rather than drowns out that gorgeous voice.
You can't help but clap along with "10 Rocks", the best song on this disc - it's a Shelby written original (all of this disc was written and produced by Shelby), a gospel tinges blues number that features some awesome piano playing by Billy Payne of Little Feet. "Lonesome" is the closest thing you will get nowadays to the kind of music Patsy Cline used to perform (take a hint, Leanne Rimes). And the hushed sounds of two beautiful songs "If I Were Smart" and "I Don't Think So" are strong statements on the power and emotion that Shelby pours into her vocals.
It's great to have this wonderful singer back doing the kind of music that fits her voice - and it is clear that the "Identity Crisis" that her last album represented has been resolved favorably.

Wow, what a nice surprise. It's the Shelby Lynne album I been waiting for. This album rocks, swoons, gets down like your'e in church, and then some....

Shelby does what she pleases n this album, and it shows. She sounds comfortable with each song, and sounds like she's having fun singing them. A nice stripped down acoustic approach suits these songs perfectly. I fell in love with the coo of her voice a long time ago, and it's all over this album. She hasn't sounded bettter, vocally as she does here. "One with the Sun" has to be the most beautiful track on here. And "Gotta get better" rocks like nothing else I've heard her do. The churning strumming takes you in right away and really rocks. Amazingly there is little percussion on this album and it seems to work just fine. The introspection of "If I were smart" here she examines a situation of the heart, shows a she can still turn a phrase to get her point across.

Now I'm sorry but I don't understand the review calling "10 Rocks" hokey. It's a great song. Why can't Shelby Lynne do a gospel shuffle? Lyle Lovett can and no one says anything. In any event she shows that she has the ability to pull it off.

This album shows the many facets of an amazing artist. An eclectic collection of songs make up a strong, cohesive work. Her talents shine here. The best part is that she produced and played the guitar parts herself. It was as if, to make a really good Shelby Lynne record, she had to do it herself. Good for her! It worked!

(Personally I'd like to hear her re-do "Love Shelby" to sound as pure as this record does. There were some really great songs on that album that could use a personal touch.)

The first time I saw Shelby Lynne she was on some award show with Sheryl Crow several years ago. She was out singing her and sexier and trashier and all that. She was kicking [...] and Crow was like she always was, pretty flat singing but technically great of course and rather dull. Back then Shelby was more Gretchen Wilson than Gretchen Wilson is now. Then I went out and bought that album with Shelby on the front in cutoffs and all tanned and blonde. Love, Shelby. Yes, sir. The cover was a lot better than the music, I thought.
Then awhile back I saw this woman on television. The Directv screen said it was Shelby Lynn. No, it wasn't. Shelby Lynne was that singer who looks like the most attractive single mother in that bar across the street from the Chrysler Plant, cigarette in hand, and she bends over a pool table.
The woman Directv said was Shelby Lynne looked like an androgynous Bell Hop in a fancy New York hotel. That couldn't be Shelby!
There was no tan on this woman. Her hair was white, not blonde. What a transition! But then I bought Identity Crisis. What an album! It blew that cheap-o album produced by Mr. Morrisette,( what's his name?) out of the water.
Shelby's transition was probably less a fear of skin cancer than the types of crowds she was drawing. (Hey, boys! Shelby's up there! Got some chew?)
This album brings Ms. Lynne to the place she should be. Bluesy, and country. Shades of Willie Nelson and Patsy Cline and even a little Buddy Guy.
Shelby's identity crisis is our musical windfall. This is a textured, brilliantly understated album that shows just how talented Shelby is. She goes back to her roots or maybe just discovers her roots. 6 stars. (But does she really say Flo for floor?)

Shelby has returned with THE perfect album to demonstrate her range and versatility as an artist! From the first listen, songs such as '10 Rocks', 'Gonna Be Better', 'Lonesome', and 'Baby', just reach out and grab the listener! The way she blends influences as diverse as gospel, country, rock, folk, and even Sinatra ('I Will Stay' is right out of his early Capitol years), is astonishing and seemingly effortless in her hands.

She has basically no peers for what she does - and when she's ON she's ON - and this album may be her best to date. If you liked the diversity of 'This is Shelby', you'll love this CD!!

If you ever wondered why music was believed to be invented, then take a listen to this! I can't tell you how genius is visualized but for an artist to recognize the errors of self-regret and doubt then plaster it all over an artform is something to behold. Splates of country roots with down sense lyrics are just some of the keys to the magnitude of this record. Shelby Lynne explores brilliant expressions of relationships and loneliness that get intriguing between tracks. Lynne somehow is able to escape an identity threat and make the kind of music that should be played on everyone's stereo. Lynne appears extremely focused on the integrity of music with this record and comes to respect different styles and genres to help pave the way for her own musicianship. A track as deep as the luridly titled "Lonesome" shows more admiration towards country music's beginnings then any contemporary country song on the radio these days. Her honest tribute to Patsy Cline will have legions of admires up in arms with a virtuous sense of heavenly bliss.

Lynne's songwriting appears flawless and her vocals are an unquestionable distinction. She makes her songs frank and forthright with the backbone of clever sincerity. Songs that emerge from nowhere and shine unhindered through contemplate intellect. It's quite difficult to make comparisons with her music because its abilty to withstand is stronger then most of her adversaries. If you don't believe me then listen to the earnestness in her songs. She is able to embrace the gospel influenced "10 Rocks" and sculpt it into a rockabilly homage. Something that has rarely been done since the early years of Johnny Cash and Elvis. I found myself in a daze with the intensely rocking "Gotta Be Better" . The hook is as crisp as The Knack's "My Sharona" but its fascinating approach leaves the listener wanting more.

There is even an intelligence of diversity of pop, jazz, folk and blues showcased in this collection. Lynne's doubtful relationship situation leaves her hanging on to the telephone. Only to be let down by her own by her own enemy, herself. "Telephone" is by far pop music at its zenith. There is not a fancy chrous that gets swept away in the melody but within its three minutes you find yourself connected to this woman. Lynne strikes a chord with herself again by the time we experience "If I Were Smart". A close an intimate encounter of lost devotion and regression. Lynne seems willing to portray heartfelt human experiences with solace. She pulls it off better then anyone from her generation. . Lynne is also eminent with her exploration of guitar techniques. In a heartbeat, we sense a stroke of astuteness that comes from a devotion of musical appreciation. In today's terms, that's saying a [heck]of
alot!

Modern miracles don't necessarily take place anymore and an album as rare as this is something to treasure until the next serious effort is attained. To break down the rules on contemporary style and give it to people who will embrace it; forever marks the territory of classic albums. Shelby Lynne doesn't deny the reference to music history and is continually up for the challenge to channel her influences. If for some reason you are not immune to that idea or this record and attempt to reject the outspoken genius of it; I'd check your pulse to confirm your dead.

When I decided to rate Shelby's new album, I must admit that I was afraid that I could not be totally objective, or at least as objective as I would like to be.
Some of Shelby's older songs like "Dreamsomme","Wall In Your Heart" & "Killin' Kind" have accompanied me in a very difficult period of my life. I feel Shelby like a friend, and you can't be objective when criticising a friend, now can you??
You see, Shelby, with her awsome voice, and songs, has held my hand through times that I couldn't have easily passed without her.She has been my friend, whatever that means to you...
But, thank God, I didn't have to be good with her, just because of her past hits. Her new album is amazing, and it takes you on a magical journey that starts with the first song, and ends with the last line of the very last song.
I don't wanna just take each song and rate it individually, because I believe that each of these songs have a soul of its own,and it would be a mistake to seperate them in such a way.However, what I have to say is that Shelby's style has gone through some changes, and in some parts her songs are not typical "Shelby" , and that's good for two reasons.Firstly, for those of you who didn't like her older songs, this is a chance to give Shelby a second chance to amaze you (and she WILL do it!), and feel her music.Secondly for those who don't know Shelby and for those who know and love her, it's a time to re-meet and enjoy her beautiful voice, in something a little bit different than her previous songs.
"Identity Crisis" is an album that's surely,also,gonna be loved by all country fans, as Shelby's voice has the blueness that's needed from an artist to be able to perform country songs. Also, there is a cover of an old favorite country song in th album!.
I, unfortunately, don't live in America, so I don't have the chance to see Shelby, but for those lucky ones that live there, it's a great idea to go to one of her appearences with your girlfriend/boyfriend.
Trust me,you are gonna love Shelby.I know I do...
Thanks for everything Shelby....
Thank you for the music.

Shelby Lynne has done a lot in her thirteen-year music career and six previous albums. She received much attention and numerous awards for I Am Shelby Lynne. After that she did a pop album with Glen Ballard that lost some of the hardcore country fans. I thought Love, Shelby was a great record nonetheless. Shelby Lynne got back to basics on this new record. Apparently she listened to a lot of Jimmie Rodgers and Hank Williams for inspiration. Shelby avoids pop hooks and choruses. There's a stripped down feeling to "Telephone." Her song "10 Rocks" draws upon gospel music. Shelby Lynne wrote and plays most of this album herself. The best songs are just her voice and guitar. The most remarkable song is "I Will Stay." It is emotions at their most stark and naked. Shelby Lynne is the closest thing we have to Patsy Cline. Hopefully she will do more records like this.

This is my first exposure to Shelby Lynne and I'm just all gobsmacked and agog over it. So far this year this is the best, most complete album I've picked up. Am I gushing yet?

The songs on here are carefully produced, but with beautiful touches throughout. With a voice and lyrics that remind me of early Sara K and the ability to let fly and romp or go downbeat, this is a complete, mature, beautiful work. I was signing along with the volume turned up driving around with this disc in the car's player, without even knowing the words.

I bought this disc on a lark (thanks Amazon) with Jolie Holland's new one, and this album made me rethink my feelings about the other. Really this should be the new sleeper hit, with reviews on NPR and all the buzz the other album is getting. If Ms. Lynne is having an identity crisis I sure hope she doesn't get therapy!

If you could get just one female vocalist recording this year, in my opinion, you ought to get this one.

Some of us remember when Shelby Lynne pretended to be in the country music mainstream. She never seemed happy there, always wanting to take off in a direction the labels wouldn't sanction. Now that she has a musical identity she built herself, not only is she plainly happier with her work, so are the rest of us.

This album is so eclectic, and so anti-commercial, that it's surprising a label like Capitol would even touch it. From the Nashville Sound arrangements of "One With the Sun" to the gospel of "Ten Rocks," from the blues of "Evil Man" to the straight-ahead rock'n'roll of "Gotta Be Better," this CD is a capsule history of American music. It also fits together so well from tune to tune, despite the disparity of the selection, that it's easy to listen to over and over.

Shelby's latest isn't going to be for everybody. It's a very stripped-down, austere sound, with lyric content sharp enough to cut steel, and that won't sit well with a mass audience. But for those who love country, and its associated forms, from back when country was still good, this album is worth the cost from the first track.