It’s no secret that traditional-sounding country has little, and female representation has even less, place in the mainstream today, so it shouldn’t be a surprise to anyone that the vintage, traditional Secret Sisters lost their major label deal and struggled to get by despite their incredible talent. It’s also been pointed out recently that the mainstream has a noticeable lack of female producers, and it’s not as if there are a ton of them in the independent/Americana world either, so it seems fitting that the Sisters’ latest record, aptly entitled You Don’t Own me Anymore and very much an album of empowerment and freedom from control, would be produced by Brandi Carlile. And for the most part, it’s a great showcase of the Sisters’ vintage sound and undeniable talent.
I use the word “vintage” more than “traditional” because this record harkens back very much to the earliest days in country, and it’s like something you can imagine your grandmother playing and loving. It’s not necessarily reflected in the themes, like the timeless Colter Wall debut, but in the sound and overall mood of the record. It’s a simple album, not relying too much on production to tell these stories but instead playing to the strengths of Laura and Lydia Rogers and allowing their vocals to be the highlight. And indeed, the sisters’ incredible harmonies shine forth as the greatest asset to this whole thing. It’s the dissonance in the beautiful “Carry Me” that adds to the raw emotion, and it’s the reimagining of “Kathy’s song” with harmony that ultimately makes it stand out here despite it being a cover. Although the opener, “Tennessee River runs Low,” is not one of my personal favorites, there’s no denying the fact that it’s a vocal masterpiece, showing off all kinds of crazy chords and harmonies and just being generally impressive.
The songwriting is another strength of this record. It’s definitely an album of empowerment, as embodied in the title track and the mournful “To All the Girls Who Cry,” featuring some nice piano and those excellent harmonies. Sometimes it seems directed at a controlling lover, like in the more upbeat “He’s Fine” or in the painfully honest “The Damage.” It’s probably also referring to their struggles in the music business, and the powerful thing is that even though the record is called You Don’t Own me Anymore, this person and/or entity that once owned them has obviously left an incredible, even irreparable mark. It’s a triumphant title, but it’s not a happy album; in fact, except for occasional fun breaks like the ode to Alabama entitled “King Cotton,” it’s a melancholy, sorrowful affair. But still, it brings comfort and healing in a way that only these types of albums, borne of struggle and filled with empathy, can. A song like “To All the Girls Who Cry” only works when you understand that they’ve done their fair share of crying themselves, and that sense of empathy permeating this record is what makes it so relatable.
It’s no secret that this album is great from a technical and critical standpoint, so why the 7.5 rating? Well, as a music fan, it honestly could have used some more energy, particularly in the back half. Sometimes the reliance on the vocal ability of the secret Sisters goes a bit too far. The vintage sound renders some of these tracks almost classical in nature; in fact, one of the best examples of that is the previously mentioned and lyrically beautiful “To All the Girls Who Cry.” As I said, it’s an album that played to the strengths of Laura and Lydia Rogers–credit to Brandi Carlile for that–and it’s quite simple. That’s both the best quality and the thing that ultimately holds it back slightly. Their talent is obvious throughout, but it’s stuff like “Carry Me,” “King Cotton,” and “He’s Fine” that will hold up better because their harmonies are simpler. Having said that, this record is one that grows on you with time, and as you start to dig further than the outstanding harmonies and really absorb the lyrics, you begin to uncover more of the underlying genius in the album. So, it’s a 7.5 for now, but that rating will probably increase with time.
Beautifully sung, painfully honest album. It may not be for everyone because of its vintage nature and a slight lack of energy, but it’s certainly worth your time, and after a few listens, you might just find it working its way into your heart like I did.