These Four Yawns

Overall Album Score: 7.9 out of 10

Another five years, and Shawn Colvin is 50 and still not a guy. But she somehow continues to retain that youthful spark in her voice... I could've thought she was still in her 30s! The actual music isn't that spunky though ... it's charming as hell and has that good "home-grown" flavor that she's known for. Naturally, this flavor can immensely help an album become treasurable, but it seems like Colvin is getting far too comfortable in it.

She continues to probe around the stylings of her undeniably great album from 10 years previous, A Few Small Repairs, but she ends up coming out with her weakest album of them all. I've always liked what Colvin was about even though she forgets to inject life into her songs sometimes. (Many of them might have been well conceived and performed fine, but that alone doesn't usually make a great song.) The tracks that contain good, subtle country-western orchestration (such as a banjo or slide guitar) only benefit from these additions. The sparser ones tend to be worse, although I have a particular fondness for a sparse number called "Venetian Blue."

The biggest problem with this work is the lack of diversity. It's too samey. There's a few mood changes, but they're too few and far between. I just get bored by the end. That said, this might be a perfect album for someone without ambition in life! I usually like this kind of music the most, but I'm going to have to listen to Metallica or something to achieve balance after listening to this!

But this is a good album anyway. There are quite a few tracks worth remembering. The opener "Fill Me Up" is a bright pop-rocker though nowhere near a "Sunny Came Home." "Tuff Kid" is probably the album's best rocker. This is an altogether decent album, and Colvin's voice is lovely, but it could have been much better. A little charm doesn't mean you have to be lazy!!

Overall Album Score: 7.9 out of 10 (An altogether decent and tasteful album from the folk-popster. Her charm is undeniable, but this is too damn boring.)

Average Song Score: 8.1 (The album has its moments. "Venetian Blue" is the best of the slow songs and "Fill Me Up" is the best of the too-few spunky ones.)

Album Tilt: 7.5 (Injected with lots of charm, but the sameness of it grows tedious.)

Artist Rating: 8.0 (Always tasteful and personable. I wish she were more creative, but that's life for you.)

Track Reviews

Fill Me Up 9/10

This is a pleasant poppy song ... very light, but it doesn't pretend to be anything it isn't. This a pop song at its heart but it has a tiny bit of country-western to give it a twang. The melody, as usual, is bouncy and spritey, and it contains enough hooks to keep it interesting. It's not really a memorable song, but for an at-the-moment track, it's quite nice.

These Four Walls 8.5/10

More of a Beatles' "Blackbird" vibe here (there's even that thumping drum!!!). This song is similarly pleasant. The melody is quite homely, and there's a certain charm to it. That also means the melody isn't that great. Hardly a "Blackbird," but I know Colvin didn't want it to be.

Tuff Kid 9/10

This song is about a kid who likes to wander around dormant volcanoes and collect rocks. (This is what comes from majoring in geology!) This is more of a "rocker" and it's charming as ever. The melody is strong enough to capture me, and I like the subdued home-cooking spirit even more. There's enough country-western touches in the instrumentation to give it flavor, but this song doesn't succumb to actually being country-western. That's the way I like it!!

Summer Dress 8/10

Very tasteful, and the fact that she doesn't lose an ounce of that charmingness only works in the song's favor. This song is well structured and well developed, but the melody isn't too special here. That's why the song takes a turn for the worst. She doesn't have wild creativity to make up for the fact that this song is approaching boredom.

Cinnamon Road 8/10

More of that down-home country goodness ... The melody is fine, but my ears are growing desperate to hear some good melody. I do adore the flavor of it; that was always Colvin's stronger point.

Venetian Blue 9.5/10

Even quieter and more subdued than her previous tracks. It's also more passionate, but instrumentally sparse. But all the elements seem to work well here. I do enjoy the melody here, and the even more personable vocal performance.

The Bird 8.5/10

A severe and most welcome mood-shift here. This straightforward and upbeat pop-rock instrumentation was done nicely. The electric organ was a good touch. The melody is even nice though rather repetitive. (She says the 'F' word ...... ooooooo!)

I'm Gone 7/10

The sleepiness of this song really takes me over. The chord progression she uses is rather nice, but the melody doesn't seem to do much. (Technically, it's fine though.) It's boring. That's the overriding feeling.

Let it Slide 8/10

A little more dynamic this time and that seems to help the boredom from the previous track. The breezy melody works well enough and Colvin's brand of charmingness is just right. I still don't think Colvin is much of a melody writer, but she sure had something going in 1996!

Even Here We Are 7/10

The acoustic guitar strumming is good, but that's about it. This is one of the quieter songs (in a quiet album) although this one comes off as boring overall. Charmingness is a great quality, but nothing can beat a good hook or inspired instrumental!

So Good to See You 8/10

This is also among the album's quieter moments ... It's usually not too inspired but she very subtly picks up a good vibe in the chorus and comes up with a decent riff on that acoustic guitar. If she only would have kept that vibe going, this might have been something.

That Don't Worry Me Now 7/10

Again, it's the charmingness that saves it. Naturally, it's a tasteful song for boring adults, but it's disappointing that she can't come up with nicer melodies. I like it when she does spunky songs ... I wish she wouldn't do so many 'contemplative' ballads.

Words 8/10

And the album ends with an expected whisper in a folk tone. Colvin sings a fine melody while lightly strumming her acoustic guitar, and a piano is introduced later on. It's nothing special but it's at least consistent with the tone of the whole boring album.

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