Another album from sometimes underrated singer-songwriter, Nashville based (formerly from Baltimore, Maryland) Amy Speace is always a pleasure. Speace’s songs, but for one or two are the kind to grow on you. Creep up on you to become like firm friends (as her beautiful phrasing and ability to guide both lyric and listener the direction wished). That Kind Of Girl with her in top form, and calling on fellow songwriters Neilson Hubbard, Kate Klim, Ben Glover, Ryan Culwell, Beth Neilson Chapman and Doug and Telisha Williams the recipe though pretty much as before I feel Speace has toughened up, musically. Without losing her ability to at the drop of a hat perform vocals gently enough to soothe one’s troubles, calm troublesome waters, and guide the heart and soul to a more comfortable place.
From the moment Speace and the musicians move into the opening track “Nothing Good Comes Of This” set to a Muscle Shoals-esque Speace’s moving lyrics, and wistful tones it is also joined by exquisite pedal steel guitar and fiddle —the ride is a memorable one. Speace’s command of the situation, even on occasions she speaks of and tackles less desirable scenarios in her life there is always the feeling she is going to stand up, be strong and turn it around. Her compositions with Glover, “Three days”(a moody, southern leaning gospel tinged affair) and wryly penned “Hymn For The Crossing” are both superb, the latter with jaunty rhythm, fiddle and beautifully performed army of voices accompany her lead vocals it is bound to elevate the spirit and soul of all who hear it. Likewise “Chicago” with Cajun fiddle in the mix it too ticks all the boxes. Not least due to the wonderful arrangement featuring more flowing harmony vocals, electric lead guitar and piano too. It is like Speace was not only given room to express herself but was also, equally determined to utilise it! The freedom of spirit doesn’t stop here, because straight afterwards Speace to the accompaniment of sumptuous pedal steel and ragtime sounding ensemble sashays through entertaining and quite flawless piece “Trouble Looks Good On You” (w/ Doug & Telisha Williams). While on drawing on one of her melancholy moods “Raincoat” (c/w equally typical soothing tones) produces, as does the sad-eyed “Strange Medicine” and wistful ode “Epilogue (I don’t Know How to Stop Loving You)”. Of a less positive front, I feel she relies too much on her moving tones when she has “That Kind Of Girl“, the better of the two followed by “One Man’s Love” of similar in nature in sequence. Otherwise, if you haven’t already discovered this peach of act check her out, now!
Maurice Hope