Everything I Should’ve Said
* * * 1/2
To record his first album of original material since 2009, Radney Foster traveled to Dockside Studios in Lafayette, Louisiana, a converted whorehouse lacking modern amenities. Working alongside musicians he’s collaborated with during his two plus decades making music, Foster has crafted some of the most personal work of his career.
As a result, Everything I Should’ve Said radiates with rejuvenated energy from an artist roaring with passion and contemplating sizable ache. The rough edginess producer Justin Tocket brings to the proceedings displays a palpable urgency, even if the slightly dusty dirt penetrating the tracks comes off a little heavy-handed at times.
Self-penned stunner “Whose Heart You Wreck (Ode To The Muse),” which opens the album, finds Foster tipsy and ravished at the mercy of creativity, and not the hands of a woman: “You saunter in at 2 am and whisper poetry.Sensuous, whiskey-soaked and breathless next to me.You’ll sneak out before the dawn, but what should I expect? ‘Cause you don’t really give a damn whose heart you wreck.” That thematic twist is a stroke of brilliance and turns what could’ve been just an average heartbreaker into something far deeper and more impactful.
“The Man You Want” and “Holding Back” are two more numbers Foster wrote solo and both are excellent love songs. “The Man You Want” is also a glorious moment of self-reflection, with Foster laying bare his character traits only to admit his greatest life accomplishment is being the man his woman wants him to be. His girl is his kryptonite on “Holding Back,” a beautiful sentiment about the depths of affection.
My favorite of his five solely written numbers is “California,” a delicate love song about two gypsies starting over in the Golden State. The two wayward souls aren’t a couple, just like-minded people, which make the story all the more alluring. Foster also nails the simple yet oh-so-true hook: “Can’t you hear California calling your name, a siren song that once you hear it you’ll never be the same.”
Foster teams up with Jay Clementi on two numbers, the jaunty “Hard Light of Day” and pulsating “Lie About Loving Me.” Both incorporate the wall-of-sound production technique that mares too much of mainstream music and gives the tunes a rockish feel that engulfs any distinctive qualities within the melodies. Fortunately the lyrical content is top-notch on both songs with “Lie About Loving Me” acting as somewhat of an addictive earworm. Another in this vein is his solely written “Unh, Unh, Unh,” an insufferable piece of dreck I skip whenever listening to the album.
The rock flavored production actually adds a dimension of anger to “Not In My House,” a generational number inspired by his a conversation with his fifth grade aged daughter about the meaning of the word ‘slut.’ Foster and co-writer Allen Shamblin broadened the song to incorporate themes of world injustice and put forth their mid-50s southern man prospective on hate and bigotry. The song is effective without being offensive and a strong lyric that needed to be said.
Two additional standout tracks find Foster co-writing with Gordie Sampson and Jim McCormick. “Noise,” may also employ the wall-of-sound recording technique but I don’t mind it as much thanks to Foster’s vocal, which cuts through nicely. “Keep Myself From Falling” is also in the same vein musically, but has a fabulous lyric that wouldn’t have been out of place on mainstream country radio (by the likes of Dierks Bentley) just five years ago and should be mainstream enough now if Bro-Country hadn’t taken over. The same goes for the title track, co-written with Darrell Brown, which has Foster laying bare his regrets in a relationship.
On the opposite end of the spectrum is “Mine Until The Morning,” a duet with Patty Griffin co-written with Darden Smith. A delicate piano-laced ballad, “Mine Until The Morning” is a gorgeous love song with Griffin’s guest vocal adding a beautiful richness to the track.
By most respects, Foster has turned in another wonderfully strong album both vocally and lyrically with Everything I Should’ve Said. Highlights abound left and right and “Whose Heart You Wreck (Ode To The Muse)” and “Not In My House” are two of the most powerful songs you’ll hear all year. The only misstep comes from Justin Tocket’s far too loud rockish production, which doesn’t render most tracks unlistenable, it’s just intrusive where it doesn’t need to be. Other than that, Everything I Should’ve Said is a solid album belonging in the company of Rodney Crowell and Rosanne Cash’s recent releases.