The finest country songwriters understand that the best way to a big idea is often through a small detail. Consider the central gesture that dictates the action in Brandy Clark's beautiful song "I Cried," which appears on producer Dave Cobb's graceful compilation album Southern Family. Contemplating a grandfather's death and his wife's ensuing loneliness, Clark builds the song's chorus around the phrase, "I cried," her voice arching up into a tender, transcendent falsetto; in the next line, she takes the mood down again. "I tried to hold my head high, it ended up in my hands." That simple image so effectively captures the experience of living with grief: the attempt to show strength for others, for your own sanity, and the gradual, quiet, repetitive sag into vulnerability. Who hasn't experienced this moment at a funeral — or, as Clark describes, while simply talking on the phone with a fellow loved one left behind?
In 1959, John Lee Hooker signed a one-off deal with the Riverside label to record an acoustic session of the country blues. It was a key change from his earlier recordings, most of which had featured Hooker on an electric guitar with his trademark reverb and stomping foot. Folk purists of the day were delighted with COUNTRY BLUES, believing Hooker had returned to his roots, leaving the "glitzy commercialism" of R&B behind. But some Hooker fans considered COUNTRY BLUES a "betrayal" of his true sound. The truth is probably somewhere in-between. Remember, John Lee Hooker is always John Lee Hooker, regardless of the format. If you like Hooker, or acoustic blues, buy this album. It is an intimate session featuring standards like "How Long", "Bottle Up and Go", as well as Hooker's first recorded take on "Tupelo", one of his all-time classics.