Lucinda Williams' latest reveals reflective, nostalgic side
By: Andy Moon - U-WIRE
April 29th 2003 8:14pm
Several of my dormmates walked in as I blasted the new Lucinda Williams CD from my speakers, and most comments were along the lines of "What the hell are you listening to?" or "Turn that noise off!"
"World Without Tears" is not an album of catchy, upbeat tunes. But it definitely has its moments, and the album grew on me after repeated listenings. The softer songs tell stories of heartbreak and nostalgia while the more aggressive tunes are raw and, at times, downright angry; Williams holds nothing back as she sings about church hypocrisy and child abuse while referencing actions as bold as vomiting and heroin use.
The album opens softly with the drawling, wistful "Fruits of my Labor." The simple accompaniment -- sparse drums and bass with a reverb guitar and occasional harmonica solos -- creates a vivid country atmosphere. Lucinda, daughter of renowned poet Miller Williams, shows off her impressive way with words as she sings: "Lavender, lotus blossoms too / Water in the dirt, flowers last for you . . . Lemon trees don't make a sound / 'Til branches bend and fruit falls to the ground."
However, the album single, "Righteously," falls flat. The same verse seems to repeat endlessly with slightly different lyrics, and her twangy and un-melodic style becomes irritating: "When you run your hand / All up and run it back down my leg / Get excited and bite my neck / Get me all worked up like that." Unfortunately, this repetitiveness is reflected in several songs throughout the album, in which monotonous verses and accompaniments drag on for more than four minutes.
The aggressive track "Atonement" drives hard with crunching guitars and growling vocals, but it's musically uninteresting. Williams rushes through indiscernible lyrics in the verses, leaving the listener hearing the chorus over and over: "Come on, come on!" Both "Sweet Side" and "American Dream," with semi-rapped verses, have an annoying quality to them. While the lyrics are angry, the delivery lacks emotional substance.
This is not to say that "World Without Tears" doesn't have its shining moments. Williams produces beautiful music in songs such as "Three Days," a testament to an old lover that still manages to convey all of Williams' frustration and anger. With harmonies by guitarist Doug Pettibone and bassist Taras Prodaniuk, the piece has texture and substance while evoking the pain of being deserted. There are more than a handful of songs on "World Without Tears" that are superbly done, reflecting a melancholy free of bitterness. "Overtime," a song about healing after lost love, is simple but beautiful while "Minneapolis" and "Words Fell" are both well-crafted pieces full of poetic symbolism. These outstanding tracks help carry the album forward.
While there are a few tracks that I always skip, the CD has several gems that will stay fresh for a long time. Williams' blend of country, blues and rock produce a unique sound unlike any recent artist. After hearing her 2001 effort, the glossy and melodic "Essence," this album was not close to what I expected. Williams attempts a daring, raw record in "World Without Tears." However, it is mostly when she shows her reflective, nostalgic side that she succeeds. Her expressions of lost love and places she once knew allow her skill as a poet and as a singer-songwriter to shine.
 (C) 2002 The Stanford Daily via U-WIRE
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