A thought occurred to me this morning: Sheryl Crow, though inducted into the Rock and Roll Hall of Fame in 2023—doesn’t get the accolades she deserves. From her debut, Tuesday Night Music Club, onward, she’s released one strong set after the next, with catchy radio hits sharing space with sublime album tracks. She’s rock, she’s pop, she’s country, and the hybrids therein—and always recognizably herself. As important: Her CDs—Very Best of especially—must’ve served as the secondhand soundtracks to a slew of suburban kids being ferried to and from soccer practice (or the mall) by moms who played them in the car’s CD player; her influence on the musical development of following generations can’t be denied.
Abigail Rose’s delightful full-length debut is proof; echoes of Crow—and one of Crow’s influences, Stevie Nicks—fly throughout its 41-minutes. Essentially the six-track Surprise Valley EP from 2024 expanded into a 16-tune opus, Paisley is a sonic time trip that’s sure to have some spiraling back to to the ‘90s and naughts, an era when cafes—whether stand-alone or in bookstores—encouraged customers to sit for a spell, down caffeinated drinks, and enjoy cool commercial-free playlists while skimming books and magazines. It’s mostly pop-rock with a folky undertow, accented by vocals that are lush yet gritty, and very addictive. Back in the day, it would’ve taken up residence in my car’s CD player for weeks on end.
Paisley opens with that six-song EP in full; I spotlighted it at the time, so won’t repeat myself beyond saying this: It was, and remains, one of my favorite releases of 2024. And, too: “Wake Me Up” is likely the greatest song Sheryl Crow never wrote, if that makes sense. The additions maintain the quality, with the majority being ruminative numbers that resonate deep in the soul. “Run Out on Me” is low-key and moody, while “Bubble Bath”—released as a single last year— belies its frothy title; it’s a slice of modern psychedelia. The too-brief “Having Fun” is bouncy and rhythmic yet, at the same time, laidback. “I Like It Here” finds Abigail channeling her inner-Stevie Nicks while reflecting on her life to date: “Try to hear out the angel hanging out on my shoulder/She’s making more sense now that I’ve gotten older/My mind’s a garden, blooms when I’m sober/Can’t touch nirvana yet, but I’m climbing closer.”
“Out of My Mind” builds upon that introspection, while “Where the Wild Things Are” delves into self-awareness and self-doubt. “Fool,” for its part, focuses on the manipulative jerks who walk among us—and there are far too many of them, these days. “Start to Finish,” meanwhile, spins (at 33 1/3 rpm, no doubt) about love and music. The piano-driven “Heaven,” for its part, finds her contemplating the meaning of life and love. The album closes with the title track, which intertwines Americana and psychedelia into a colorful fabric.
Of note, I feel compelled to add, Abigail recently scored a viral sensation with “Barney’s in the Band,” a collaboration with her pal Weston Hunter; neither it nor her enchanting re-do of Stevie Nicks’ “Wild Heart,” another single, are included on the album. (Let’s hope it sells well enough for a deluxe package sometime in the future.) As is, however, it’s a compelling set that’s well worth one’s time. A three-sided, double-LP can be purchased through Abigail’s website; my copy is currently in transit, so I can’t share a photo of just the back jacket with the track listing. Here’s her website picture:
