Sweet Talk And Good Lies

With such strong females as Alison Moorer and Tift Merritt emerging from the shadows of the country/alt.country scene to look for a wider audience, it is refreshing to report on an equally dynamic singer/songwriter whose feet are still in cowboy boots and rooted in hardcore traditional country music.

On her fourth studio album since her debut in 1992, Heather Myles has improved both as a singer and as a formidable genre writer as well. It is doubtful if, ten years ago, she would have tackled such classic songs as Cry Me A River or By The Time I Get To Phoenix yet in both cases here she brings emotion and enough of herself to the songs to make them her own. It’s a rare coup: she doesn’t make you forget the originals but you appreciate her interpretations.

Apart from those two covers, the songs are all from Myles’ own hand and sit firmly in the well-worn tradition of heartbreak and regret. Including regret for the way Nashville has moved away from core music (Nashville’s Gone Hollywood), American gas-geezers (Big Cars) and a failing relationship (If The Truth Hurts). But lest you get the impression that Sweet Talk… is all depressing cry-in-your-beer pathos, nothing could be further from the truth. This is a warm, vibrant and very vital sound that highlights some excellent playing. And while it remains firmly grounded in the traditional sound of country, it will be readily acceptable to roots rockers of every variety, from fans of Buddy Holly to John Mellencamp and more. There really isn’t a bad track among the thirteen cuts here. And as a bonus, there’s the tongue in cheek duet with that other master of the genre, Dwight Yoakam, on Little Chapel, with its ‘Ring Of FIre’ mariachi horns and driving beat.

Produced by Myles and Michael Dumas, Heather Myles’ album is an example of California country at its proudest. Sweet Talk And Good Lies is the kind of album you can point to when asked what exactly is it that brings an ex-punk to steel guitars, if not the cold beers.