Born in California and raised in Tacoma, Washington, Jaime Wyatt first came to attention of many country fans with the release of her 2017 debut album, ‘Felony Blues’, which drew on Americana and outlaw country influences. Since then she’s collaborated with the likes of Shooter Jennings and Sam Outlaw and performed at festivals including Stagecoach and the legendary Newport Folk Festival. Now she’s back with her third LP, ‘Feel Good’, the follow-up to 2020’s critically acclaimed ‘Neon Cross’ and produced by the Black Pumas’ Adrian Quesada.
The 11-track album opens with ‘World Worth Keeping’, which sets the template for the project with its upbeat, soulful melody that’s reminiscent of classic 60s Motown as Wyatt sings about social issues like war and climate change and the importance of preserving our world for future generations. The hint of gravel in her vocal really compliments the gospel backing harmonies and her passionate delivery – particularly on the spoken word bridge – made this feel like a classic protest song.
That soulful sound is something Wyatt leans into heavily across this album, and I think it works very well. Her rich, slightly husky vocals act as a great balance to the bluesy guitars and stomping drums, whether that’s on the title track with its simple message of self-compassion and kindness, or the swinging, joyous ‘Love Is A Place’ which sees her documenting her experience of falling in love with a woman and hitting some high notes reminiscent of the great Bobby Gentry. Elsewhere, I loved the sheer amount of detail she crammed in on the wistful ‘Back To The Country’ with its references to ‘that old Lincoln in the rain’ and ‘in a coffee shop in Memphis/sweet potato and chocolate pie’ before kicking into a honky-tonk piano riff, whilst the slinky ‘Jukebox Holiday’ had a brightness about it and an almost seductive quality as she encourages a lover to let go and dance because now is all we’ve got.
But Wyatt hasn’t completely abandoned her country influences either. ‘Fugitive’ was a particular highlight on the album, with its rocky, rattling sound and a cinematic vibe – it wouldn’t have sounded out of place in a classic Western – whilst she delivered biting lyrics criticising politicians and corporate culture. You could feel the contempt and defiance in every word and the song packed a real punch despite going over ground that a lot of other artists have previously covered. ‘Ain’t Enough Whiskey’, a collaboration with Butch Walker, was another strong example, contrasting a rolling barroom melody with bittersweet, regretful feelings as Wyatt croons about losing a true love, as well as some beautiful lush harmonies.
For me where Wyatt really shone was in some of the slower numbers towards the middle of the project. ‘Hold Me One Last Time’, with its dramatic horn section opening and crunchy, screeching guitars, was full of yearning and had a raw quality about it that didn’t so much tug your heartstrings as yank them out of your chest as Wyatt begs her lover to say one last goodbye before she leaves her. complete with quavering vocals on the bridge. I also loved the atmospheric, swampy ‘Where The Damned Only Go’, which painted an incredibly dark yet vivid picture of a place that’s just a little too unsettling to linger in as Wyatt wallows in her despair at the loss of a loved one, as well as her cover of The Grateful Dead’s ‘Althea’. Released in tribute to her late father, the song sees Wyatt showing off her sultry side over the song’s psychedelic, whining guitar licks and telling the story absolutely brilliantly. You really feel her affection and love for the song and she does a great job making it her own whilst staying true to the spirit of the original.
The album closes with ‘Moonlighter’, an ode to the life of a travelling musician. It begins with an uptempo acoustic guitar riff behind Wyatt singing at ‘3am in my hotel room’ and featuring lyrical nods to a rainy trip to Belfast and hearing about the Queen dying, as well as a reference to a fleeting Parisian romance. I loved the way the instruments were layered up but without overwhelming Wyatt’s vocals, and it felt like a very open and honest observation that this career isn’t all glamour and rhinestones. To me the song feels like it echoes back to more of Wyatt’s previous work and it’s a soft, soothing yet touching way to conclude the project.
Overall Jaime Wyatt has delivered a record with a really timeless quality that also speaks deeply to not just what’s going on in the world today, but also her sense of self-discovery and embracing who she is. It’s the sort of album you play on a Sunday morning drinking your coffee and watching the sun come up, and is sure to appeal to fans of Wyatt’s previous work as well as those who love classic soul and country vibes. Wyatt has said she wanted to push herself on this project, and she’s definitely done that. It’s so interesting to see her embrace such a different sound and handle it with aplomb, and I’m very intrigued to see where she might take her music next.
Track listing: 1. World Worth Keeping 2. Feel Good 3. Back To The Country 4. Love Is A Place 5. Hold Me One Last Time 6. Where The Damned Only Go 7. Althea 8. Fugitive 9. Jukebox Holiday 10. Ain’t Enough Whiskey (featuring Butch Walker) 11. Moonlighter Record label: New West Records Release date: 3rd November 2023
