The world of The JaneDear Girls (Susie Brown and Danelle Leverett) is a surprisingly convenient one for the narrators of the duo’s songs.
Young men are repeatedly painted as deceitful, hormone-driven sex fiends willing to do or say anything to get into a girl’s pants, and they bear the full burden of failed relationships. The narrators themselves oscillate between ‘good girls’ who know better than to fall for Young Billy’s shenanigans, naïve hearts who give themselves away only to have their innocence plucked from their unwitting grasps, and “wildflowers” who flaunt their sexuality by shaking their asses (on “Merry Go Round”) and who—in one case—make clear their intentions by planting a kiss on the lips of an unsuspecting stranger (“Sugar”).
Which one of those narrators appears in a given song is entirely dependent upon what is needed to facilitate that particular exercise in requisite subject matter. Like its lead single “Wildflower,” The JaneDear Girls’ debut album is comprised of the raw ingredients that are often perceived to be the building blocks of contemporary country music, without much consideration for how those ingredients might work together to form something substantial.
Those songs run through the gamut of stock characters, predictable themes and old clichés, as if all it takes for a country music album to be enjoyable is for that album to touch on as many of the expected settings and scenarios as possible.
That’s not all it takes, of course, and this album suffers from the fact that there’s no point at which any of its material converges—it’s like a big X/Y graph labeled “COUNTRY,” with each song representing a randomly placed dot.
A great album doesn’t necessarily have to be thematic, but the less the songs work together the more they should work as isolated numbers. Unfortunately, the songs on The JaneDear Girls fail to ever break out of their roles and offer more than just a sketch of a particular stereotype. “Shotgun Girl” makes no statement that can’t be derived from its title, and seems to exist only to provide the singer both the chance to mention riding in a “big ol’ truck” and the space for the obligatory reference to listening to “Waylon, Willie and Merle” while driving around in said truck.
Likewise, “Merry Go Round” (which features truly pointless T-Pain style autotuning on the vocals) gives the girls a chance to sing about dirty dancing, but the hook rings empty—since when is a female butt referred to as a “merry?”
The song that most characterizes this album’s great fault, however, is “Saturdays in September” (which was written by a five-head committee featuring Jeffrey Steele). The song aims to add a dash of teen drama through a tale of first love set against a backdrop of autumn. But it never actually defines why September is relevant in the lyrics—it assumes that listeners are familiar with the canon of coming-of-age songs that are set in autumn, and it tosses out lyrics that mention “Friday nights” and “the thrill of fall” in hope that there mere utterance of those phrases will trigger the desired emotional attachment.
To some degree, it works. But that’s only because our popular culture—including country music—has been saturated with stories about September, October and November. This, we’re lead to believe, is when teenagers fall in and out of love.
“Saturdays in September” epitomizes The JaneDear Girls because it, like the rest of material contained on the album, asks listeners to accept art that is merely perfunctory. The album asks listeners to accept that just mentioning September is good enough to stir nostalgia about autumn, and it asks them to pretend that they haven’t heard all of these songs—and not just the themes, but the actual nuts and bolts of the lyrics—over, and over, and over.
That’s just not reality. Brown and Leverett have compiled a collection of common songs, and among all of the posturing and point-plotting you’ll find not a single genuinely uncommon one among the bunch. And, unfortunately, nothing matches the relative exuberance of “Wildflower,” which is the closest they come to showing any unforced personality.
On top of all of that, the duo makes a surprisingly weak first impression as a vocal force. As individual singers, their voices lack color and power. Perhaps to combat that, much of the album is performed in robotic harmony that does them no favors. These tepid vocal performances are backed by typically anonymous sounding session tracks that are every bit as boring and worn as the lyrics.
There are many reasons why some artists get signed to record deals while some don’t, and there are many reasons why some artists who do get signed to record deals never have a great deal of success. I wouldn’t be so bold as to venture a guess as to why The JaneDear Girls were signed to Reprise, but I will say that a long list of female duos—many of whom were immensely talented—have come and gone from country music’s landscape with little fanfare. The Kinleys, Regina Regina and The Lynns are among my favorites from that long list. Why would The JaneDear Girls succeed where all of those acts (and many more) have failed?
Their debut album does nothing to answer that question. Nothing here represents a demonstration of anything but rudimentary talent. And if it becomes a hit, it will certainly be for reasons other than because of how it sounds.
Our rating: ★☆☆☆☆
I don’t even care for “Wildflower” and wouldn’t waste any time listening to these gals. Other far more worthy female duet acts that have eventually bombed at Top 40 radio in the last few years include The Jenkins (mother Nancy’s vocals didn’t really add much), Kate & Kacey, and even The Wreckers, all of whom were more talented than these two. It seems the appetite of Top 40 country radio, and its listeners, for musical mediocrity is insatiable…
Your reviews spank my reviews every time. While this was undoubtedly a terrible album from start to finish, I enjoyed the way you spelled out exactly what was wrong with it, such as your points about “randomly placed dots” and your spot-on critique of “Saturdays In September.” Based on what I’d heard on the lead single, I never had high expectations for this album, but nothing could have prepared me for the utter ridiculousness of this record.
Based on your comments, Ben and Rick, I’m afraid I might have overstated the tolerability of “Wildflower.” Please see my The9513 review of that song for a reference point ;-)
Ben–Thanks for the compliment. And Rick…I didn’t even feel like bringing The Wreckers up here made sense. “Leave The Pieces” will still be getting airplay long after “Wildflower” is forgotten.
Any time! I do remember your “Wildflower” review clearly, so I figured your comments on it weren’t going so far as to say that “Wildflower” was actually good. But while the song is definitely a dud, it does seem slightly more tolerable in comparison with tracks like “Merry Go Round.”
Another thought: “Merry Go Round” sort of reminded me of the auto-tuned background vocals used in “Stuck Like Glue.” But I thought the auto-tune worked for Sugarland because it was a more subtle creative touch, while on “Merry Go Round” it’s just way too much in your face.
I agree that it’s more subtle. I think most listeners can even miss it entirely. But I also think it works much more fluidly with what’s happening at the point in that song–”Merry Go Round’s” is just gratuitous, so a better comparison would probably be to something by Fast Ryde.
Young men are repeatedly painted as deceitful, hormone-driven sex fiends willing to do or say anything to get into a girl’s pants,
This is a concept album about my high school graduating class, is it?
With reviews and comments like this, It is truly a wonder that any of the “country greats” ever became great……Have any of you the faintest idea of the amount of work and guts and drive it takes to do this? Many of the songs on the album were written by the two girls themselves…
While they might not be what you are used to, Please remember that this represents a FIRST attempt. Also, remember that you don’t get nominated for ACM awards, and to #15 on billboard unless someone likes what they hear….
If people were this brutal to “waylon & merle” – We wouldn’t even know their names today, would we?
Go spend 15-20 years learning to play multipe instuments, Live on next to nothing, and work your guts out 18-20 hours a day…..
It’s really easy to trash someone else(s) hard work and point out their shortcommings. At least they tried – what have you done today except spout off?
.What I find most interesting about your comment, Steve, is that you didn’t actually write about anything I specifically said in my review. Rather, you seem to have a problem with the concept of a negative review in general. Forgive me if I find that concept preposterous.
I would ask you, then: What parts of my reviews do you disagree with? I’m not interested in “heart” and “drive” and “hunger,” and whether or not these two girls have it. Do you think those qualities in musicians are unique? Do you have any idea how many artists never get a shot at a record deal, let alone a major-label deal?
So, The JaneDear Girls co-wrote the songs on their album. Are they good songs? Because there mere activity of writing a song doesn’t express talent any more than me scribbling lines on a piece of paper expresses artistic talent.
And as for whether or not it’s a “FIRST attempt,” who cares? This is what it is. This is what they chose to put out to the world. Why do we expect so little from our artists and entertainers, and what does it say about ourselves that we do?
Furthermore, Steve (as this thread gets overtaken by Steven/Stephen nameholders), how much of an accomplishment was receiving an ACM nomination in 2010-11? What other duos exist within the realm of acts that may have been considered by the Academy? Thompson Square? Fast Ryde? LoCash Cowboys?
As I posted on another site, the four people that the JaneDear Girls have to thank for their nomination are Kix, Ronnie, Kenny, and John, for disbanding their duos before the nominating period.
The same with the “New Duo/Group” nomination, as I can’t really think of anyone else they could have even nominated.
Hey, they did beat out perennial nominees The Warren Brothers.
Furthermore, Steve (as this thread gets overtaken by Steven/Stephen nameholders),
It won’t be long before Steve Cropper and Miami Steve Van Zandt show up.
And Mrs. Steven Rudy…
I wonder what Steve Wariner thinks of this record?
He’d chime in, but he’s already taken; you spoke up too late.
I had never heard of this group till viewing my 14 year-old niece’s Facebook status. She had posted a link to the Wildflowers video, with the note, “love them hay-stacking boy” or something to that effect.
Now, I’m a fan of country, but either old school, or .alt; I’m also a fan of pretty woman who look like ’50s pinups, so I figured I’d give them a listen.
I knew they wouldn’t be .alt, but by god, are they awful.
Keep in mind, I had discovered them via a young suburban girl who STILL loves The Jonas Bothers; that should be all you need to know, right? Well, I tried to pretend my niece might have developed “grown-up” music tastes, but….the drivelly, tired, pop chords and Happy Days meets Desperate Housewives-esque video did nothing to enamor me to them.
The lyrics were not interesting, but but worse than that, for me, was the music itself. It’s just repackaged sugary pop with a Shania Twain coating. Uggh.
Um, I totally have to disagree with y’all. The song Wildflower is really good. I have it on my ipod. I can totally relate! I am actually more into pop music but I really like these girls! Give em’ a chance! They were ranked 6 in top 20 country countdown. So I think that they are really good!