The Good Lovelies
Album: Burn The Plan
Label: Self Released
Tracks: 13
Website: http://www.goodlovelies.com

I was much charmed by this Canadian folk-Americana trio's first and third albums, especially 2011's Let The Rain Fall, which I praised for its well-balanced mix of infectiously upbeat western and delicate, wistful original material and even more for the trio's beautifully coordinated three-part vocal harmonies. All was guaranteed to raise a smile, mirroring as it did the sense of the gals having great fun making the record. As by all accounts was the case with a live album the gals released some time over the past three years (but which didn't get sent to us for review).

The eagerly-anticipated follow up studio record once again finds Caroline Brooks, Kerri Ough and Sue Passmore having fun, but first impression is that they now seem more keen on going out onto the main-street like latter-day Dixie Chicks, tho' with all the unfettered confidence that tag implies, ostensibly countering the subliminal hint that they're not quite ready to embark on the big adventure just yet. A spirit of accomplishment is all very well, but in seizing a chance for the big-time the Lovelies may have sacrificed something of the gleeful sense of spontaneity that had previously gone hand in hand with their exuberance and musical chops.

Now they may seem more winsome than sassy, although the new disc's production values are high and the record sure sounds real good, with plenty of chunky presence and detail. Closest to the trio's earlier work, perhaps, are the gentler acoustic-based tracks Four O'Clock and When The City Settles, but for most of the remainder of the set there's either a rhythm section or subtle electronic touches to (mildly) contend with alongside what sometimes feel like token texturings of banjo and mandolin.

In fairness, however any initial shock wears off as the disc progresses, and I still salute the Lovelies for their bravery in venturing confidently outside the genre-envelope that might well otherwise have threatened to constrain them. It might seem that I'm disappointed by the Good Lovelies' new offering, but I'm not at all sure that's the right conclusion yetawhile, since it's just different - and it's a difference that I can't entirely celebrate just now perhaps since I'd grown so fond of their earlier albums.

David Kidman