At some point in the late ‘70s, when I was 14 or thereabouts, I began twisting the FM dial away from WIFI 92 – by then Philly’s lone Top 40 radio station – and to the region’s twin pillars of rock ’n’ roll, 93.3 WMMR and 94.1 WYSP. Both featured a sonic palette that was at once wider and narrower than WIFI’s all-the-hits hue. Like other AOR stations, in other words, they pushed the illusion that their scope was limitless by programming album tracks and yesteryear favorites, “double shots” and blocks of songs from a single act, while actually reining in diversity of genre, color and gender.
I didn’t understand it at the time, mind you, and I’m sure many of my contemporaries – many of whom probably listen to the AOR offspring known as “classic rock” – still don’t. Instead, as someone who read the music magazines of the day (Rolling Stone, Creem, Trouser Press and Record, among others), the stations frustrated me due their reliance on the same-old, same-old. (There was a new wave coming, I tell ya.)
It’s why, in time, I began buying albums based solely on reviews and articles, and picked up album guides to better understand what was released when, and which catalog items I should pick up first. Eventually, too, I found my way even further up the FM dial, to 102.1 WIOQ, a home to a more progressive and adult brand of rock. It was there, I think, that I first heard Joni Mitchell, who by then wasn’t exactly hip with the teen/young adult set the rock stations targeted.
That’s a lot of background for what’s ostensibly my “first impressions” of Lucy Rose’s No Words Left album, which was released on March 22nd, but that’s where my mind goes while listening to its 11 tracks. When I was 14, I would have paid it no mind. By 18? It wouldn’t have left my turntable for weeks. Its songs are a hypnotic mix of stark confessionals (“conversation don’t come easy/but I’ve got a lot to say”) spiced by a few ethereal interludes that conjure no less than Clare H. Torry’s vocals on Pink Floyd’s “Great Gig in the Sky.” The end of the opening “The Conversation,” for example, morphs into “No Words Left, Part 1,” in which Lucy uses her expressive vocal range to convey emotions that words alone can’t. By “Pt. 2,” the cries are more akin to David Crosby’s “I’d Swear There Was Somebody Here” which closes his If I Can Only Remember My Name… album. They’re a powerful catharsis.
As Lucy observes in “Song After Song,” the closing track: “Song after song after song/all about me and my misery.” The album is melancholic, in other words, and accented by bitter truths and insights. At the same time, she synthesizes a range of influences and makes them her own. Joni’s an obvious point of reference, but so is Neil Young – and Bonnie Raitt, whose “I Can’t Make You Love Me” my wife hears in the opening of “Nobody Comes Round Here.”
I’ll leave it to others to go through a song-by-song analysis. Instead, I’ll observe that “You can’t know where you’re going without knowing where you’ve been” is an age-old cliche that’s born from truth. You also can’t know where you’re going if you don’t know where you are. No Words Left is a brilliant exploration of the latter. You’ll hear yourself – or those you know – in its words. It’s a future “essentials” pick, guaranteed.
Here’s the album in full: