We Still Go To Rodeos

リンダ・ロンシュタットを継承する米国カントリーの逸材!
日本での知名度ほぼゼロ(2020年11月現在)ですが、カントリー・ロック～アメリカーナ通であれば納得、イーグルス、ジャクソン・ブラウン～リンダ・ロンシュタット～シェリル・クロウの系譜に連なる正統派の大傑作。可憐な歌声+70年代にありそうな既聴感を呼ぶ作曲の才(全曲自作)+アコーステックな響きを大切したオーソドックスにして押し引きサジ加減絶妙なバンドサウンド!「合衆国はまだまだ広い!」と驚嘆せざるを得ません!
(C)新宿店:村越 辰哉

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 its 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 whos previously worked with Uncle Tupelo, Morphine, Hole, Buffalo Tom, Radiohead, and Belly -- helmed We Still Go to Rodeos, helping steer it in a softer, more supple direction, one that suits her lighter touch and showcases her versatility. At times, Rose 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, theres a snap and jangle, suggesting a cross between Tom Petty and Nick Lowe (Better Man plays like a Carlene Carter-fronted Rockpile). Much of We Still Go to Rodeos simmers, though, whether its the Southern soul groove of Youd Blame Me for the Rain or the sepia-tinged sigh of Home with You, which conjures ghosts of 80s country. Rose may tend to nod at the past but shes not a revivalist, she blends these familiar sounds in slyly idiosyncratic, personal ways that give We Still Go to Rodeos a handsome, modern feel thats distinct from other retro-minded Americana records, her previous albums included. ~ Stephen Thomas Erlewine