Rating:
Genre:
Country
Release Date: 11/06/2007
Little Big Town scored big with its second album, 2005's
The Road to Here, thanks to the chart topping single
"Gone." Karen Fairchild,
Kimberly Roads Schlapman,
Jimi Westbrook, and
Phillip Sweet's meld rootsy contemporary country with acoustic and electric instruments and vocal harmonies inspired by
Fleetwood Mac proved irresistible.
A Place to Land is superior to its predecessor in every way: production feels more organic, the music is more sophisticated, and the lyrics more poignant. Perhaps the real secret to the success of this quartet is its secret weapon in behind-the-boards fifth member
Wayne Kirkpatrick.
Kirkpatrick is the band's producer and songwriting partner. He's chief guitar picker, and plays just about anything with strings, as well as the clavinet and B-3. If the sound on
The Road to Here is reminiscent of
Fleetwood Mac's glory years,
A Place to Land drinks deeply from the well of the entire Southern California scene from the mid- to late '70s. It's not all regurgitation either.
Little Big Town's sound is rooted deeply in traditional, organic country music. Their songs meld seamlessly with the vocal harmonies that evoke vintage
Crosby, Stills & Nash and
the Eagles earliest records.
While the album's opener,
"Fine Line," literally rings with
Lindsey Buckingham's chord progressions, choruses, and arranged vocals (à la
"Go Your Own Way"); it's open rock & roll territory with one exception: the verse structure has enough hard country to rise above that influence. They distinguish themselves a bit more on the album's road-weary first single,
"I'm with the Band." Its beautifully paced B-3, electric guitars, and big cracking drums, Dobro, banjos, and mandolin are woven into a beautiful road song.
The Eagles get melody-checked in
"That's Where I'll Be," but the harmonies here could only be better if
Bernie Leadon and
Timothy B. Schmit joined in for six-part harmony. The acoustic guitars rise and fall, keeping a steady rhythmic chatter that serves as a painterly backdrop for those gorgeous voices. There is a loneliness and conviction in the song that feels authentic. This band has another side as well, and it's brought out in spades with the spooky
"Evangeline," a harrowing song about emotional abuse: "You don't have to be kicked to be bruised/And you don't have to be hit to be abused...." It's one woman talking to another, exhorting her to see what's happening at the hands of a sick, violent man. With its high lonesome guitars, a spidery Dobro, and muffled floor tom, it's as powerful in its way as
Gretchen Wilson's
"Independence Day." Those who thrive on love songs will find
"To Know Love" irresistible. It's profound in its poetry, and simplicity.
"Novocaine," with its bluesed-out slide opening, explodes into a hand-clapping rocker. For all of
LBT's appropriation of signature sounds from '70s L.A., their manner of employing them is, paradoxically, their trademark. There isn't another act out there on the road or in a studio today that sounds remotely like them.
~Thom Jurek, All Music Guide
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