While she has been around for a good while as a part of her father Bill Chambers’ well-known — at least in Australia — Dead Ringer Band, I’ve just been hearing a whole lot about this girl for about a year now. In the discussion groups I frequent, Kasey Chambers has been touted as the Next Big Thing ever since she won Australia’s version of the Country Music Awards’ “Album of the Year” for this recording. I usually don’t like buying into all the hype; however, after a couple of dozen listens, I feel that it’s probably justified.
This recording could very well turn out to be one of the most influential recordings of the year. With the major label boost that this recording is getting, Kasey Chambers is in the position to take Americana a little closer to the mainstream and possibly open the gates for a large group of heretofore under-recognized musicians.
Ms. Chambers may also be at the forefront of a small Aussie retro-country music invasion. Kasey’s brother Nash Chambers and her father Bill Chambers have both worked with Audrey Auld, a fellow Aussie who has similar musical sensibilities. Kasey’s style is in some ways similar to Iris Dement’s (except it’s a little bit less hillbilly), or maybe Julie Miller (who, along with husband Buddy, helped out in putting this release together). Chambers wrote all the songs on this release, and incredible as it may seem, she penned some of them at the tender age of 17.
Highlights on this recording, besides the title cut, include “Cry Like a Baby,” “This Flower, These Pines,” and her unforgettable anthem “We’re All Gonna Die Someday…”: “Mama’s on pills, Daddy’s over the hill, but we’re all gonna die someday.” Indeed.
Look for the special expanded bonus edition of this release. It contains five of Kasey’s b-sides, including her covers of songs by her favorite singer-songwriters: Fred Eaglesmith, Matthew Ryan, and Neil Finn.