Jet Engines by Amy McCarley

The alt country scene is crowded these days, which is great for fans but tough for artists looking to stand out. Fortunately for Amy McCarley, the first thing that strikes a new listener is her distinctive voice. There are shades of genre luminaries in her Alabama drawl — a little bit of Lucinda Williams slur, a touch of Dwight Yoakam-esque mountain twang. But comparisons are really only useful for reference purposes; McCarley’s sound is all her own, and her latest album Jet Engines showcases an artist firmly grounded in Americana, yet well-poised to make an individual statement.

Roots guitar fans will immediately be drawn to the production imprint of Kenny Vaughan, probably most well-known for his picking in Marty Stuart’s Fabulous Superlatives. Indeed, Vaughan leads a rock-solid band, and tasty blues-meets-country riffs abound. However, it’s Amy’s songwriting that commands the stage. Her voice is a nuanced instrument best paired with a strong lyrical hook, evidenced by honky tonk gems like “Here I Am” and “Radio On” — hard-driving, foot-tappings tunes with country soul that puts the current Nashville radio crop to shame.

That’s not to say McCarley can be narrowly categorized; Jet Engines is sonically diverse while maintaining a coherent thread throughout. The title track segues seamlessly between a swampy blues verse and a dynamic, melodically memorable chorus. The anthemic “Hands Tied” is probably the most pop-oriented track, recalling Tracy Chapman at her radio-friendly rootsiest. Amy McCarley could easily take her music in any one of these directions and create a name for herself; hopefully she continues to follow the more eclectically rewarding muse that yielded Jet Engines.

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