How lucky am I? Through my mail box this morning arrive review albums by two wonderful USA female singer/songwriters. And this is one of them. Shelby Lynne’s major introduction to the UK back in 1999 was in the form of her stunning and highly distinctive album, I AM SHELBY LYNNE. Lynne’s follow-up disappointed, and I just got the feeling that her heart wasn’t really in it. Now Lynne has the capacity to turn cartwheels musically and come up trumps. It’s something that only the very finest artists can achieve. So, has she played her winning card again with IDENTITY CRISIS? In my view, this album is the finest released in 2003, and of its genre, one of the finest ever recorded. So before the review here’s a little background to this incredible record.

Talking about her new album, Lynne explains, “Staying at home was a complete change for me. There was lots of emotional space to think about things I hadn’t had time for in the last five to six years. I got in touch with a lot of people and got to know my family again. I started realising what was important in life. And that’s family.” This led to an appearance on her sister’s (Allison Moorer) new album, and then to a burst of creative energy. “It was a good place to start - no label, and here on my own,” she says. “So I started putting this studio in the house, gathering equipment piece by piece, all analogue and old school, learning how to operate it myself and sitting up all night writing songs.” So IDENTITY CRISIS is almost a one-woman project, with Lynne not only writing and singing the songs, but playing the guitars and most of the drums. IDENTITY CRISIS is a long way from the glossy pop production of its predecessor, LOVE SHELBY. “I was listening to Jimmie Rogers and Hank Williams,” she says. “They’re all those story-telling, poem kind of songs.” Willie Nelson provided the inspiration and title of One With The Sun, after a long heart-to-heart call with Lynne one night.

As more songs took shape, Lynne started spending time at Cherokee Studios in Hollywood, working with veteran engineer Bruce Robb. Larry Antonio added bass and Kevin Ricard provided percussion where needed. A few songs lent themselves to subtle string arrangements and Little Feat’s Bill Payne came in for a day and added keyboards to ten songs. “I got so close to it, day after day, doing something I’ve never done before, sitting there during every painstaking twist and turn of the mix. I’m a little possessive anyway, but with this record it was hard for me not to be involved in everything. I knew when it was finished, though. The day I finished that last guitar note, it was done. I just knew.”

Telephone sets the scene for the rest of the album. It’s an understated, slow-paced ballad with a pleasant melody, and some lovely acoustic guitar refrains. It’s a brave start to an album, and in no small way hints at the independence that Lynne outlines above. But it’s also a lovely, personal song with heartfelt lyrics (”I wish you hadn’t been at home. When the telephone rang. I’ve looked in faces that just looked away. Their eyes were dim and clouded (can’t see a thing).”). 10 Rocks raises the melody and personal stakes even further with another gentle, slow-moving country-tinged song. This time she observes events and people close to her in such a beautiful way that one can’t be anything but moved.

The album contains several beautiful, glacial-paced country-tinged ballads with gorgeous acoustic backdrops of which If I Was Smart is up there with the best of them. The tempo rises dramatically with the stunning country rock of Gotta Be Better. Try to keep your feet from stomping when listening to this little number! It’s the single in-waiting, and live would be an absolute hoot. But the subtext is more serious as Lynne sings about her life and career; “ Been chasing my tail for years flying from terror and fear. Time to think clearly for the place I’ve been holding out for.”

It’s so very hard to pick personal highlights on this incredible album. However, I Don’t Think So has got to come close. It’s one of the most mesmerising and beautiful love songs I have ever heard. With gently brushed guitar strings just about audible, Lynne sings with real emotion and expression with tonal nuances just about perfect. The melody is astounding, and the lyrics moving enough to raise a tear or two (” I’ve heard you say a thousand times, you don’t even like me. Felt your painful stabs at me, you don’t even like me.”). It’s nothing short of stunning. The tempo rises again dramatically with the whistle-stop country rock of I’m Alive. And still the incredibly great lyrics, melodies and astoundingly good instrumentals flow.

I Will Stay is lounge lizard love balladry at its very best. There’s a Latin touch to the guitar work and beat, and a soft jazzy vibe complete with piano and strings. Oh hell, is this my favourite? Some of my jazz heroes like Patricia Barber would wish they had written this brief beauty… Then closer to home with Lonesome, a gorgeous country track with strong echoes of Hank Williams and Patsy Cline. Evil Man introduces the blues for the first time - and how! It seems that Lynne has no limits to her writing and vocal ability as she spits out her feelings about ‘that’ evil man… The pounding instrumentals and superb production nail this mother.

IDENTITY CRISIS is a misnomer because Lynne has found her musical niche (at least) and discovered that she also possesses excellent production skills. She sounds content and at ease on an album that is my favourite of the year, and by quite a margin. There’s an understated elegance and every song is of supreme quality. The only problem for Lynne is that there’s the distinct probability that she’s going to hit the limelight again - big time! Set to become a classic recording, this is one album you simply must own.

5/5