Writing this review is difficult for me, and not because my feelings about the album are ambiguous. I almost uniformly adore the record. The difficulty arises in attempting to write about the record. Because, despite my adoration of The Stand-In, I can’t really put my finger on the reason why. Every thought comes across as either a) generic or b) like I don’t actually like Caitlin Rose. This is my problem.
The truth is that I do think Rose has improved by leaps and bounds (suggesting she was somehow inferior before?) and that this record squarely address the question of what a ‘country’ or ‘americana’ record ‘should’ sound like. Both of these are ridiculous subjects to write about. I liked Rose’s debut, 2010’s Own Side Now. I featured it as one of my favorite records on that year’s best of list. “Shanghai Cigarettes†is still a favorite song for shuffles and playlists. As for abstract discussions of ‘country’ and ‘alt. country’, check my past posts and reviews and you can find that subject droned on about both poorly and often. This album deserves better. So let’s see if I can get past my reductive tendencies and give this record a worthy review.
Opening with big guitar chords worthy of a Tom Petty classic, Rose makes it clear from the get go that this isn’t going to be a quaint, acoustic singer-songwriter record. In fact, despite the frequent flourishes of steel guitars, The Stand-In rarely feels like a country record. Rose’s full length debut three years ago hinted at an indie rock sensibility, but The Stand-In doesn’t hint at anything. Genre classifications are merely the broad brushes that Rose used to sling paint at the walls. Most of the songs seem to have guitars, bass, and drums, so maybe we can just call it rock and roll? “Waitin’†is an R&B lyric delivered in a punk rock snarl. The more traditional ‘country’ songs like “Pink Champagne†and “Dallas†have a Memphis-soul vibe to them. Stand-out track “When I’m Gone†begs for a Bettye LaVette re-interpretation that god-willing is only a couple years away.
Thinking, I’ve been thinking
About leaving this old town behind
I’ll beg and borrow, to leave tomorrow
Find no more sorrow, and just say goodbyeCome on, you can sleep when I’m gone
I was lying when I said there’s plenty of time
Don’t need your alibi baby
Cause I’m always running
From the scene of the crime
Rose is always at her best when delivering catty one liners between biting guitar lines, as she channels her inner Petty and her guitarist channels their inner Mike Campbell (“Silver Springsâ€, “Menagerie). “Only a Clown†is perhaps the best example of this to date. Co-written with The Jayhawks Gary Louris, the song bounds forward with a musical optimism that is buoyed by a chorus of “put your record on, let the band play a song/ all about love and believingâ€. Though the chorus belies the song’s angsty roots, you can’t help but sing along. And maybe that is why I can’t quite put my finger on Rose, because nothing makes quite as much sense as ‘I just can’t help but sing along.’
Everyone came, lanterns lit the way
And they all brought a bottle of wine
Guess you could say
That I came alone, and I thank you
For being so kindPut your record on, let the band play the song
All about love and believing
Good for you, ‘cause if that’s true
Then it’s only a clown, that’s leavingAt the end of the night
All the ice has melted down
You’re picking up after everyone
Remember I came and went
And that no one says goodbye to a clown
They only laugh when he’s gone
And for your pleasure, here is a free download courtesy of our friends at ATO Records.
Audio Download: Caitlin Rose, “I Was Cruel” [audio:http://dl.dropbox.com/u/7770435/02%20I%20Was%20Cruel.mp3]
About the author: Specializes in Dead, Drunk, and Nakedness..... Former College Radio DJ and Current Craft Beer Nerd