Rodney Crowell - 'The Outsider' (Aug. 16)

You really have to admire Rodney Crowell, whether you dig his music or not. After a lengthy period of hibernation, he reinvigorated his recording career with 2001's The Houston Kid, an intimate portrayal of growing up on the rough side of Houston. He followed that critical success with Fate’s Right Hand, an album that was a lot more concerned with the travails of middle age than childhood. Following the same musical path of its predecessor (which would be more accurately called “folk rock” than “country”), Fate’s Right Hand was a philosophical affair that showcased Crowell’s growth as both a songwriter and a person.

Now comes The Outsider, a record sure to be known as his “protest album,” though that’s a pretty broad brush to describe it. Perhaps more in tune with the current American public than the spate of so-called protest records last year, The Outsider makes his points more subtly than, say, Steve Earle might, and Crowell wisely eschews casting dispersions on any political figures or parties. For instance, in the album’s most pointed song “Don’t Get Me Started”, Crowell adopts the stance of a barfly philosopher who’d much rather have a few beers than get on a tirade about the state of the world (though the song clearly reflects Crowell’s own feelings). On the other hand, “The Obscenity Prayer” skewers rampant materialism with irony and wit, two of Crowell’s strong points as a songwriter. If there is a controversial song on the record, it would likely be “Ignorance Is The Enemy” – though it is more controversial musically than lyrically. Sandwiched between an elegiac chorus are spoken-word verses from Emmylou Harris, John Prine and Crowell. It is an interesting experiment, but as the clear centerpiece of the record, I’m not sure how well it works. Still, I give Crowell major props for trying to do something a little radical (though the song is far less political than the title would imply).

Another pleasantly surprising aspect of The Outsider is how fully Crowell has embraced his inner rock ‘n’ roller. On both The Houston Kid and Fate’s Right Hand, I felt the strongest songs were also the most rocking, and Crowell practically dares his older fans to get on the wagon with the opening one-two punch of “Say You Love Me” and “The Obscenity Prayer”, both of which are anchored by meaty guitar licks (it’s refreshing to hear such frisky and invigorating guitar work from Nashville session players, including Crowell’s longtime sideman Will Kimbrough). Occasionally, the production on The Outsider (like the previous two records) slips into the realm of slickness – for instance, Crowell tends to favor compressed vocals in the background, though his own vocals always sound quite natural. And sometimes his more interesting production ideas (“Beautiful Despair”, for example) overshadow the song itself. Yet songs like “Things That Go Bump In The Day” revel in their own simplicity and are certainly no less enjoyable for it.

One treat for longtime fans is the inclusion of a duet with Emmylou Harris on Dylan’s “Shelter From The Storm” (originally recorded for, but not included on, the soundtrack for the TV show Crossing Jordan). Crowell and Harris give the song an inspired, and surprisingly uptempo, reading, and any excuse for the two former bandmates to get together is a welcome one (plus the song works quite well in context with the rest of the album).

The Stoic philosopher Epictetus once wrote:
“Don't regard what anyone says of you, for this, after all, is no concern of yours.”

Crowell echoes this sentiment on “Dancin’ Circles Round The Sun (Epictetus Speaks)”:
“Disregard what don't concern you/ Don't let disappointment turn you/ Avoid adopting other people's view.”

So sums up the revitalized career of Rodney Crowell. With reckless disregard for the expectations of critics or fans (this one included), he has once again walked out on a limb and delivered a unique record. The Houston Kid was so good that it will likely remain the standard for all of his subsequent albums. But it’s an unfair comparison because, like Fate’s Right Hand, most of the songs on The Outsider are valuable additions to a quickly evolving collection of essential works that will forever mark Crowell as not just an important songwriter but a vital recording artist.

(NOTE: The Outsider is currently available in the UK and will be released Stateside on August 16.)