RUMER "boy's don't cry"
Rumer's follow up album to her superb 2010 debut "seasons of my soul" which i championed
here when it was released..
i like this one also, but not as much as that one, simply because its a covers album of 1970s songs.
luckily for her though IMO, she has stripped down the originals to give them a distinct Carpenters sound,
and wow!, she sounds more like Karen that Karen did at times..
some nice acoustics and lush strings on here...at times sounding distinctively bluesy and jazzy also,
i shut my eyes and picture these tracks being performed in some dingey smoke filled blues/jazz club...
so, not a bad album,far better than most of the skanky trailer trash girls that are scoring huge hits
on the charts at the moment, and a talent to boot,just wish she'd have done another originals album though
allmusic pro's rate this one a converted 2.4, me, i give it 1.9
,simply, because its a covers album
from the album:
a man needs a maid
Product Description Review
On Boys Donít Cry, the follow-up to her million-selling 2010 debut Seasons of My Soul, Rumer has recorded versions of tracks written by men in the 1970s. It doesnít quite have the subversive qualities that Tori Amosí similarly themed 2001 album Strange Little Girls had Ė with the possible exception of her take on Neil Youngís A Man Needs a Maid, where the sense and meaning of the original are somewhat altered by its being performed by a woman in 2012.
Often, with its covers of songs by Todd Rundgren, Hall & Oates, Stephen Bishop, Paul Williams, Clifford T Ward, Gilbert OíSullivan and Jimmy Webb, Boys Don't Cry feels like Rumerís deep immersion in the pantheon of arcane US and UK MOR rock prompted her to construct an alternative canon of commercial tunesmiths requiring critical rehabilitation. In almost every instance she inhabits the songs to such an extent that they feel like her own compositions, even when the titles at first seem inappropriate.
Williamsí Traveliní Boy is one of two tracks here by a songwriter formerly covered by Karen Carpenter, whose voice Rumerís resembles to an uncanny degree. Not for nothing did she recently receive the approbation of Richard Carpenter to go along with her plaudits from Elton John and Burt Bacharach.
The object of the project was, she says, to make a record that described the solace and anguish sheís experienced since achieving success and fame. Hence all the songs Ė including Traveliní Boy, Wardís Home Thoughts From Abroad and Flyin' Shoes by Townes Van Zandt Ė about rootlessness and longing to be home.
It goes without saying that Rumerís performances are uniformly technically flawless and models of restraint. Boys Don't Cry works superbly as a companion piece to Seasons..., the harmonic richness of the music and lush chord sequences showing exactly where her allegiances lie: Be Nice to Me is Rumer doing Rundgren doing Laura Nyro doing Bacharach, and Travelin' Boy suggests an albumís worth of collaborations with the composer of Rainy Days and Mondays would be no bad thing.
Boys Donít Cry posits Rumer as a throwback, albeit a glorious one, to a bygone era, when the songwriting verities of the Brill Building were transposed to LAís Laurel Canyon. Fabulous stuff.--Mike Diver