This clear-voiced Canadian has largely been forgotten by U.S. country radio, which is a shame, but she continues to enjoy moderate success in her Canadian homeland. Though she went through a period of some minor artistic stagnation with a few of her recent releases, her new album Roots and Wings is largely a step in the right direction. As with her previous effort, 2009’s The Long Way Home, Clark utilizes a hands-on approach, taking full producer credit, and sharing writing credits on all but one of the album’s tracks.
Clark celebrates her Canadian roots with the album’s first single “Northern Girl.” Lyrically, the song is far from being an outstanding entry in Clark’s overall body of work, but it what it does it does well. “Northern Girl” works thanks to its unshakably joyous melody and performance, while the arrangement includes some pleasant interplay between electric and steel guitars. Even the “na na nas” seem to fit right at home with the rest of the song.
The album makes a few minor missteps, but they come only in the form of lyric or production, as Clark’s vocal performances are reliably strong throughout. The album gets off to a rough start with “Wrecking Ball,” which is a clever lyric, but is bogged down by a driving arrangement so loud that Clark is all but drowned out. While “The One” can boast some interesting verses and a pleasant arrangement, it draws on a rehashed hook: “I don’t want a love I can live with/ I want the one I can’t live without.”
But despite it’s weaker moments, Roots and Wings soars at its best. Neotraditional-style barroom weeper “Lonesome’s Last Call,” written by Clark with Jim Rushing, and laden with heavy doses of fiddle and steel, sounds perfectly timeless. Clark gives a gorgeous delivery of a lyric about two potential lovers seeking to drown their heartaches in liquor. Another one of the album’s best tracks is “Smile” – a song of a very personal nature for Clark. Having lost her mother to cancer last year, she addresses her mother’s death in song with this composition. But instead of dwelling on her loss, Clark presents touching vignettes of her time with her mother, and reflects on the words of motherly advice that have sustained her through adulthood: “I want you to smile.” Her mother repeats those words once again as she lies on her deathbed, about to draw her last breath. In many ways, “Smile” sounds reminiscent of the Patty Loveless classic “How Can I Help You Say Goodbye,” particularly in the way it shows how its narrator benefits from her mother’s guidance at various stages in her life. Clark’s achingly sincere performance is absolutely heartrending, while Alison Krauss’ guest vocals add further sweetness to the track.
“Smile” is followed by “We’re Here for a Good Time,” a cover of a song by Canadian rock band Trooper, and the only track on the album that Clark did not have a part in writing. Though the lyrics are paper thin, the track benefits from a toe-tapping arrangement and a loose upbeat performance by Clark. It’s a decent enough effort, but it would probably be even more enjoyable if it didn’t come directly after one of the album’s best tracks – “Smile” is a mighty tough act to follow. Still, it’s enjoyable to hear Clark revisit the boot-stomping sound that was her trademark during her hitmaking heyday.
Despite a few minor hiccups here and there, there’s still more than enough goodness here to make Roots and Wings a worthwhile listen. It’s best moments are absolutely brilliant, and it’s weakest moments still have their redeeming qualities. The project as a whole finds Terri Clark in fine form – broadly entertaining, and brimming with heart and sincerity.
The 1-to-10 Country Music Review 