We deal with a mass of preconceptions as we approach recorded music. Some folks buy records knowing what they want to hear before they've peeled the cellophane and pressed the play button. They know an artist, they expect a certain sound, they expect a certain emotional satisfaction from the music. I'm not any different, especially with artists I'm already familiar with. But I also have a side that loves CDs that surprise, that present sounds that are completely unexpected, that if I don't pay strict attention to, I don't get (and the more records I preview and review, the stronger this impulse gets). "Sweet Country Lullabies" from San Francisco's An American Starlet really snuck up on me.

Initially, with a somewhat pretentious sounding band name like An American Starlet, I didn't really have high hopes. I figured this band was either taking itself way too seriously for a first CD or they had a twisted, maybe even self-deprecating sense of humor, which I saw as a plus. I'd seen the CD spammed on Americana music websites and, as with all processed meat byproducts, it was hyped to be the greatest thing for human consumption since canned ham leavings were pressed into a jello mold and packed in a square can with a key opener on top. I was thinking another alt-country or roots knock off, same ole same ole. Not hardly!

Oh, there is a Son Volt/Wilco thing at work on some of the songs, if we need an easily understandable highway sign to come to grips with the direction "Sweet Country Lullabies" goes in. But that only scratches the surface because there are also tunes like 'Men of the Sea' that would be at home on a Fairport Convention album circa 1968, and there are others that would be comfortable nestled in beside Traffic's 'John Barleycorn.' But (cover your eyes, country fans), what a lot of this music reminds me of is Nirvana unplugged and on a country tangent. With Steve Earle sitting in on mandolin and Jimmy Day on steel guitar.

To boil it down into something small and easily understandable, what really got me about this record was that this little band was doing country songs (listen, hear the steel guitars, the mandolins, the fiddle, hear the lyrics?) but there is something urban and modern about the guitar work and vocals, something almost grungy. The vocals, which are soft and angst-filled, sensitive, earnest, at times bring Velvet Underground and Nico to mind. At other times, the vocals have that raspy Jeff Tweedy somnolence. But even these descriptions don't cover all the bases with An American Starlet, as they incorporate elements of soul music and even bluegrass into their rich musical textures.

Upon closer listening, I could even hear a church organ filling in gaps unobtrusively in the background. With the instrumentation and pace, it seemed like it should have all been clashing and completely incongruous, a garish, cheap patchwork coat, but it was working and working very well. And just when I began to get my brain around this strange brew coming out of the speakers, An American Starlet switched gears and, with no instrumentation except guitar, handclaps and finger snaps, came at me with a lilting, echoing, rockabilly hubba-hubba Brit rock groover (remember 'Crazy Little Thing Called Love'?) that would make Dave Edmunds jealous. By this point I was feeling like Butch Cassidy and Sundance Kid when that unrelenting posse was after them: my cynical inner critic-self was screaming WHO ARE THESE GUYS?

According to the press pack, "An American Starlet" is the combination of the remnants of two San Francisco bands, The Rosemarys (who had a major label deal go sour) and The Magnetic. But the moving force behind Starlet is one Ian Parks, engineer, songwriter, singer, guitarist, who also plays mandolin, fiddle, dobro, banjo, and bass. He is ably joined by Jared Matt Greenberg on bass, organ, melotron, and Wurlitzer piano, Scott Appleton on pedal steel, Peter Weldon on acoustic guitar, Noah Appleton and Patrick Harte on drums (although half the tracks are drumless). Parks, Greenberg, Weldon, Scott Appleton, Powers and Harte comprise the live, stage version of Starlet. When Parks isn't singing in that Kurt Cobain/Mic Harrison/Jeff Tweedy voice of his, Mara Keagle and Sophia Campbell do some splendid, airy vocal work.

"Sweet Country Lullabies" was recorded "on no budget" at the Starlet's practice space in San Francisco. The sound quality is surprisingly bright and crisp, and it doesn't take much listening to realize you aren't dealing with amateurs. You don't need a lyric sheet to know what is being sung. And young Mr. Parks has quite a fine way with lyrics and a well-tuned understanding of how to present and project them.

'Sweet Country Lullaby' opens with a loose, almost haphazardly simple electric guitar (which my wife said reminded her of Hendrix) coupled with some delicate steel guitar work that sets a stony, 'Sleep Walk' tone to the cut. Mara Keagle's breathless, little-girl, wish-upon-a-star vocals and the layering of guitars by Parks make the piece. It is a simple piece, and the steel guitar solo and the pace make the song identifiably country, but Parks' expert layering of instruments takes what begins as a simple strum and turns it into a grand, complex production, all the more amazing because it is done totally without any manic element or electronic gadgetry. It'll never make TNN or the Grand Ole Opry or even commercial country radio, but this is adult country music at its best. Deep stuff.

He kissed me but I was just dreaming
So I'm gonna go to bed and rest my weary head
And make a wish I never wake up again
'Cause I missed him when I woke up this morning
So I'm gonna go to sleep and pray the lord my soul to keep
These dreams sweet in my head

Parks' sawing fiddle on 'Wait' kicks the tune off with a distinct alt-country No Depression feel, and his wistful, sorrowful voice only adds to the effect. This kid can sing. And even though he says he doesn't write down most of his lyrics (there's no copyright information or song credits, etc. on the package), he can certainly compose a catchy song.

Would you mind if I was just to sit down awhile
Maybe have a seat and slowly drink down your smile
You know I'd never want to make you feel used
But what's a lonely boy to do

How long is too long when there's no tomorrow
How long should I sit and wait in the dark
While you make unconceivable words so believable
How long should I wait to hold you tonight

Parks' songwriting skills are further demonstrated with the ethereal but grungy love song, 'She's a Star.' This is Nirvana unplugged and Parks' guitar work and vocals are spot on again.

If she's a star
I am her sky
If she's the answer
I'm asking why
If she's religion
Then I will pray
If she's forever
I am a day

If she's a star
I am the sky
If she's the truth
I am the lie
If she's repentance
Then I will pay
If she is whisky
Stay drunk all day

It's lyrics like these, coupled with instrumental prowess that make "Sweet Country Lullabies" from An American Starlet a thinking person's recording. It is one of those moody records, the kind you like to play at three in the morning when you can't sleep or you aren't in the mood for something bouncy and light. It is unfortunate that the band doesn't have a larger promotional budget (although they are planning to run ads in No Depression magazine) to get the word out to the public and even more importantly to radio, because this CD is a real keeper and deserves much more attention that it is probably going to get. Judging from the talent exhibited on "Sweet Country Lullabies," we will be hearing more from Ian Parks and An American Starlet no matter how successful their debut CD is, because it is obvious that music is what they do.

* "Sweet Country Lullabies" is only for sale at www.milesofmusic.com . You can hear several of the songs at www.starletsweb.com and check out the band.

Contact William Michael Smith at: wms-at-rockzilla.net

 
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