The work on Kathy Muir’s first two
albums has lead her here. Her third release Second Life is the summit of her
accomplishment thus far and improves over her two fine past releases. If
there’s any remaining justice in the modern music world, the merits of this
effort should catapult her out of the indie scene and onto a much larger stage
than she’s occupied so far. Muir’s approach is a blend of different influences
and happily difficult to categorize. She’s certainly an advanced lyricist, a
writer capable of exploring serious themes and narratives without ever
overwriting. The same principle extends to her musical talents. The songs are
crafted with an idea that they should do their job with the audience and get
out with a minimum amount of fuss and not a single song falls short of that
goal.
The first song assured to grab
listener’s attention is “Better Man”. In some ways, the subject matter is
rather familiar to anyone who listens to a lot of serious songwriters, but Muir
spins it in a different direction. Much of the responsibility for that comes
from her skill with characterizations – both central figures in this song
emerge full-bodied from the song with the same level of significant detail one
expects to find in a fine short story. “Stop Messin’ Me Around” is definitely a
throwback number that does a fine job approximating a rockabilly attitude, but
it is certainly much more lyrically sophisticated than the typical efforts in
this vein while still remain great, raucous musical fun. She pulls everything close
for the tender turn she takes with “I Want To Lay Down” and the plaintive
wanting of the title is reflected in the lyrics. This is quite a beautifully
wrought and patient song.
“Born by the Water” is certainly a
little less sophisticated musically than what Muir has, to this point, spoiled
us for, but it becomes clear soon enough that the primary focus here is lyrical
rather than musical. Muir unleashes some poetic fireworks here, but they are
decidedly low-key and never unnecessarily gaudy. There are a variety of
interpretations and Muir’s playful vocal certainly seems to relish not entirely
spelling things out for her listeners. She comes close to the blues with the
immensely stylish and witheringly honest “Never Felt Like a Woman” – it will be
difficult for anyone to not be impressed by the equal parts technique and
sincerity required to make this song such a success. The contemplative and yet
very proud “Like Warriors” harkens back to Muir’s folkie roots – it’s a nice
interlude from the more frequent bouts of Sturm and Drang on the album’s second
half. The closer, “Second Life”, is a title song very much from the school of
making big statements. Fortunately, it highlights a forward looking vision for
her life, and by extension her art, while never disavowing the experiences
bringing her to where she is today. This sort of remarkable maturity and wisdom
defines Second Life personally and artistically.
9 out of 10 stars
Aaron Ellis
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