From a certain angle, the title
We Still Go to Rodeos
could be seen as
Whitney Rose
running a preemptive defense of the eclecticism of this, her third full-length album: despite indulging in a variety of sounds and styles, she still plays country music.
Rose
is indeed rooted in country, as she has been in her previous recordings, but it's an expansive definition of country, encompassing soul, rock & roll, power pop, and anything that could be classified as either Americana or roots rock. Her previous platter,
Rule 62
, also covered a lot of ground, but its
Raul Malo
co-production gave it a snappier, leaner feel.
Paul Kolderie
-- a producer who's previously worked with
Uncle Tupelo
,
Morphine
Hole
Buffalo Tom
Radiohead
, and
Belly
-- helmed
, helping steer it in a softer, more supple direction, one that suits her lighter touch and showcases her versatility. At times,
can crank up the tempo and amps -- she rages on "In a Rut" as she attempts to pull herself out of the doldrums -- but usually when the pace quickens, there's a snap and jangle, suggesting a cross between
Tom Petty
and
Nick Lowe
("Better Man" plays like a
Carlene Carter
-fronted
Rockpile
). Much of
simmers, though, whether it's the Southern soul groove of "You'd Blame Me for the Rain" or the sepia-tinged sigh of "Home with You," which conjures ghosts of '80s country.
may tend to nod at the past but she's not a revivalist, she blends these familiar sounds in slyly idiosyncratic, personal ways that give
a handsome, modern feel that's distinct from other retro-minded Americana records, her previous albums included. ~ Stephen Thomas Erlewine