The first thing that is really striking to me about this album is the voice that is featured on it. Jenni’s voice is that of a strong woman and even though she is often singing sweetly, it doesn’t play like what you might call a “girl song”. That is, I’m sad to say, a rare thing to hear these days. She sounds powerful. This kind of performance is unique and there is no “girl song” feel undermining the album. This is a straight songwriting album, as far as I can tell. The lyrics are fun and well put together. They flow nicely and make for easy and positively charged listening. As the hippies might say, this record has “good vibes”.
The overall production values are high across the board. I don’t know what prices are like at Crossroads Recording Studio in Lubbock, Texas but this shit sounds expensive. Tones are warm and close. The guitars are impressively played and carry most of the groove of these tunes. There are a few examples of “Holy Fucking Shit” electric guitar solos on here as well. In the mastering seat on this album is local legend Alan Crossland and his collected years as a tone smith are on display here as well. Nothing is lost or jumbled or bleeding into the tonal territory of another instrument. I love this kind of mixing because it’s easy to hear individual instruments and follow their parts.
I think Jenni deserves an album this good. She has content worth producing and sharing. I’m glad she’s in the game. As far as standout tracks are concerned, there are several worth mentioning in more detail. The first one I really stopped and played again was “Lover, Don’t Leave” it stands apart musically from the rest of the tunes with minor tonality and a sort of Santana type guitar attack. It’s a really strong tune about doin’ it. I was actually surprised by the level of sexual content in it. It’s very sensual and flirts with crossing the line into the graphic. It’s excellently written and finds the balance between sweet and dirty. The phrase “I’ll make you cum more” is one that calls for applause around my house. Clever and sexy is always a winning mix.
Another especially strong tune on Jenni’s self-titled record is “Willie” which is a total classic in the making. It’s one of those that could, I imagine, be picked up by some Nashville debutant show pony and provide Jenni a well deserved pay day. Jenni comes off as “Miss Bad Ass” sitting comfortably in some grime slicked Texas draft house. Strong tune. It sounds authentic and unforced because she’s a good Texas girl at heart.
Another song I want to mention from this record is the first one on the disc. It’s called “A New Me” and it’s a pretty basic country tune recorded and composed with a wink to pristine classic country. It sounds like it’s a cover of some older song from the golden age of this music but it’s a fresh original from a strong songwriter who knows what pieces need to come together to create a well balanced song like this one.
Over all I’d say that this album is an insta-purchase for anyone who loves music from West Texas. The flavors of the area are captured well and mixed with a level of creativity and respect for the genre that is rare and lovely. I would probably classify this as “West Texas Soul” which is music that simply couldn’t come from somewhere else and carries the stain of the flatlands on it. For enthusiasts of Lubbock music history I think this is an album to take note of. I hope you will pick it up and visit the site as well.
Featured performers are JT Paz, The Eddy Weir, Dr. Curtis Peoples, Brian Dunhan, The Legend John Hartin, Lonnie Joe Howell, Steve Anderson, Amy DeVoge, Mike Morgan and Terry Vincent.
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