Hello, friends.
As many of you know, I am pretty passionate about music. What you may not know is that I cannot stand music critics. Ho, my God. What pretentious assholes they seem to be, (although I’m sure their mothers love them.) Most of the music critics in my life–and I genuinely try to limit them–come to me via NPR. One of them recently, when describing a favorite album of his from 2013, said that the singer was “self-conscious without being self-absorbed.” I heard this in my car. I had to fight the urge to deliberately smash into the nearest concrete barrier simply to stop his voice from coming out of the speakers. I could have turned the radio off, but he made me so angry I forgot that was an option. He was “speaking English without even remotely attempting to make any fucking sense.” I seriously loathe them. (In an effort to sound a wee bit magnanimous, allow me qualify that. I don’t hate ALL of them. Some are quite good at what they do. Most of them, however, aren’t.) They are so busy trying to maximize their desperately overpriced English/Music degrees that they don’t even realize they stopped making sense about music a long time ago.
Music and language are clearly related to a certain degree. But, they are two vastly different mediums. My suspicion is professional writers resent that. Musicians, they own us, baby. Don’t they? You know they do. Writers can spend months locked up, sweating and alone, with their thoughts, for months, in an attempt to move perhaps 1,000 readers, if they’re lucky. Two notes from a guitar solo is all it takes to make thousands erupt. You don’t believe me? If you love rock & roll and were alive in the 70’s, try not to float a little when you click this. I don’t care how many books Oprah sold, her book club will never make people feel like that. The written word will never have that power. Ever. And that resentment comes through loud and clear in most of the reviews I read.
With all that being said, I’m here tonight to review a couple of CDs I’ve been listening to lately.
I know, right? I am nothing but a bundle of contradictions. And that is somewhat evident in the albums that have been competing for my attention lately.
I have been listening to Rosanne Cash’s new album “The River & The Thread” and Jill Hennessy’s “Ghost In My Head” pretty much on an infinite loop for the past two months. And just like the contradiction of my despising reviews of music and yet having the need to write about it, those two albums are very different. And yet I am addicted to both.
If you’ve known me for more than 47 minutes, one of the things that you’ve learned about me is that I am a tremendous fan of Rosanne Cash. That is not to say that I am a tremendous person, but rather that I will easily become the most tremendous blow-hard if you wanted to “chat” with me about her music. You will quickly look at your watch, silently wondering how you are going to extricate yourself from the conversation, thinking “Jesus Christ. All I said was ‘7 Year Ache’ was a good song. I didn’t even know who sang it. I thought it was KT Oslin. I have a family to go home to.”

Here I am in an intimate moment with Rosanne Cash, being photobombed by her husband, John Leventhal.
I have loved and admired Rosanne Cash for decades. Have you ever heard a particular singer’s voice and something clicks deep inside of you and you realize “I am this person’s slave. I will do whatever it is they want me to do. Wake up to buy tampons at 2:30am? Sure. Go murder the President because he won’t publicly support an anti-gun initiative? (Wouldn’t THAT be ironic?) I will do it, because I am their slave and they own me?” Has no one else had this happen to them? Well. If Rosanne Cash needed me to buy tampons–which, in and of itself would be an impressive request, because she’s in her 50’s–I would put the slippers on, fumble for the keys and look for the nearest 24-hour pharmacy.
I reveal that level of devotion to let you know that there is absolutely no way that I could seriously criticize any work that she did. I mean, it’s ridiculous to even expect it. But I will do my best to be objective.
But–it’s fucking ridiculous. I mean, I have been backstage as she performs soundcheck on some of the very songs I am going to be talking about. Please. I’m biased. Totally, irrevocably, biased. That’s another thing that pisses me off about music critics. If you don’t like someone because they’re a selfish, conceited, unmanageable prick, just say that. Don’t mask your resentment of their personality with a bad review. Conversely, if you are completely smitten with someone, be bold enough to admit that you are hypnotized by them, and that is why you are giving them a glowing review. (I’m looking at all the Taylor Swift fans out there.)

Rosanne Cash’s latest album, The River & The Thread, is a beautiful masterpiece.
For me to really get into the subtle nuances of her album…that would require you the reader to be face to face with me. We would consume either too much coffee or too many beers, but together, in conversation, we would parse this woman’s evolution down to its essence. Because she is a complicated woman. That is one of things I love about her. I am not going to do that justice in this essay.
To truly appreciate the beauty of Rosanne Cash’s latest album, you have to understand the albums that came before it. The reviews, be they on television, on NPR, or in print, don’t seem to focus on that. I mean, AT ALL. But, again…*hatred of music critics*…sigh. Stupid fuckers. All they focus upon is her relationship with her father.
I think I loved Rosanne Cash long before I had even an inkling of who her father was. That probably makes me different from about 97% of her fanbase. When I fell in love with Rosanne Cash, I knew her father sang “A Boy Named Sue,” thanks to my own father’s record collection. My father also introduced me to “My Ding a Ling” by Chuck Berry and “Hello Muddah Hello Fadduh,” by Allen Sherman. He loved them all equally. So, at the time, I did not have a deep appreciation for Johnny Cash. That came later, with maturity, once I got out of the house. My love for Rosanne came first. I feel like I am swimming against the tide in that respect, as everyone seems to love her father first, and her only as an afterthought.
She has a legacy that she has to honor. In many ways she is American Royalty. (Miley Cyrus probably knows exactly how she feels.)
(Show of hands–how many people here don’t realize that Rosanne Cash’s father is Johnny Cash? Show of hands–how many don’t know who Johnny Cash is? Well. Thank you for reading this essay for as long as you have.)
Rosanne Cash has been in the music business for a long time. She has transformed herself–as many do–over the decades. I am particularly infatuated with the work that she has produced since 1993’s The Wheel. I mean, I LOVED her King’s Record Shop album from the 1980’s that garnered her so many awards, and of course I remember 7 Year Ache…but her work since The Wheel has been decidedly different. And that in large part has to do with the man that she was in love with, who produced it, and who has been her life partner and collaborator since, John Leventhal.
It is ridiculous, since 1993, to refer to any Rosanne Cash album as a “solo” work. Because it is always in collaboration with her husband.
They fused a blend of country & pop and mixed it with red-hot passion back on “The Wheel” in 1993. That’s a great album. I cannot believe it didn’t chart. I mean, seriously. That is one of my favorite albums of all-time. It bothers the hell out of me that no one has ever heard it, if the charts are true. So, if you would like me to burn you a copy, just send me a tweet @Twizznit.
They have evolved, she has evolved, and her relationship with her family/heritage has evolved. And it has all coalesced in The River and The Thread. And she has blended the perfect brew. My only criticism of it is that it is too perfect. I don’t admire perfection. I resent it. I like flaws, and I like to root for underdogs. The River & The Thread gives me none of that.
I could spend the next few paragraphs dissecting every song on the album, providing you with adjectives that make you want to shoot me or read your thesaurus and then find an imaginative word for “murder,” but suffice it to say that Rosanne Cash has created a very soothing album that blends the history of her past with the history of her marriage with the history of music. Her husband plays on the record. Her husband produced the record. I don’t know how to tell you he is a genius, but he is one. She thanks, in the acknowledgements, her husband John. “We painted this together.” They did. And it is a beautiful painting. Are you familiar with her “Black Cadillac” album? Such a beautiful tribute to all the people she had lost during that time, including her father. (Her father is Johnny Cash. The singer.) And on the eponymous song, Black Cadillac, I could swear there is a trumpet tribute to Ring of Fire on it. I am probably wrong. But at the end, I swear I can hear it. Again, what do I know? I’m not a Johnny Cash fan, nor a music critic. The point I’m trying to make is that these people are serious, subtle, masters of their craft. The River and The Thread seems not only to tie into her familial roots, or the roots the South, but also to the past 20 years that she has been making music with her husband. But, unless you have heard the albums that they’ve made together, you would quite possibly miss that.
Rosanne Cash is, above all else, always in control of her emotions. There is a reason that her autobiography is titled “Composed.” She is focused on mastery, and you can feel the mastery in every song on The River and The Thread. There is nothing raw or unhinged about a Rosanne Cash song. She is always in control. It’s beautiful and intimidating.
It’s fascinating to me–again, because I know a little bit about her musical history–that the most interesting collaboration she performs on The River & The Thread is with her ex-husband, Rodney Crowell. They raised four children together but have been apart for decades…and yet, when they sing, it’s pretty obvious that they sound great together. Again…in keeping with the River and the Thread theme…that life, love, history and land all relate…it’s pretty awesome (and subtle) that she would recognize that with a soft duet with her (ex) husband.
To someone who has never heard of Rosanne Cash in their life…this is a soft, safe, crooning album. She is not going to surprise you, although she may please you. (Does that sound like something an asshole music critic would say? Please tell me that’s not as bad as “it’s self-conscious without being self-absorbed”?) She is a wonderful master, in her 50’s, who services the song…oh, Jesus, I think I heard that on NPR once. I need to shut up now.
When I’m not listening to Rosanne Cash’s new album, I’m playing Jill Hennessy’s 2009 debut, Ghost in My Head. Rosanne has come so far, and Jill is just getting started. What a contradiction.

What year is this? Are we in 2014? That’s…okay. So, it’s been 5 years since this album has been released. Give or take. I’m a fairly new listener to it.
If you remember the early years of Law & Order or the television show Crossing Jordan, you should know who Jill Hennessy is. From the moment I saw her on Law & Order, she was in my “Top Ten.” The Top Ten, of course, being a list of beautiful women on television that, once they decided they wanted to sleep with me, I would accept into my bed as long as they were at the top of the list. (Thank God only men are sexist pigs, or else I might feel guilty about shamelessly rating women.) And Ms. Hennessy was always in the Top 10. Who else was in the Top 10? God, it was ever evolving. Madeline Stowe. Oof. And Mary Elizabeth Mastrantonio. Oh. My. God.
Can we please just take a moment to honor the powerful beauty that is Mary Elizabeth Mastrantonio?
Whew.
Breath-taking.
No.
I still need a moment.
***
Sometimes I miss the 90s.
Alright. So now that I’ve established my sexist credentials, please allow me to dissect Jill Hennessy’s album further.
Please know that I was TERRIFIED to listen to this album. It took me YEARS.
I had been following Jill Hennessy on Twitter for many years, ever since I signed up for the service. From following her, I knew that she had made an album. And I completely, deliberately, avoided it. I was scared to death.
Try to imagine someone that you love watching on television or in movies suddenly deciding that they were going to sing.
I did that already, with someone named Russell Crowe.
Have you heard of him? Oh, yeah. I have his CD. 30 Odd Foot of Grunts. Yep.

Even the baby is ashamed to be associated with this album. “My God. What will my parents think?”
I own this album. It is on my iPod.
I loved Russell Crowe. Have you ever seen him in The Sum of Us? I had such high hopes for him. So, when he came out publicly to say that, yes, he was a musician…I scooped that shit up. Who wouldn’t? I loved him in The Sum of Us. And why would he lie?
And then I listened to his album.
To my credit, I haven’t killed him.
But, he did completely ruin me for the “actors who want to sing” set. I was done after that. He was that powerful & awful. That Pawerful.
So, when I joined Twitter and found Jill Hennessy, and her bio said that she was singing and had an album out, of course my first thoughts were towards Russell and I was all “Isn’t that nice.”
I completely ignored this woman’s singing for, what, two years, at least. Possibly three. Who but the NSA can know for sure how long I’ve been on Twitter.
I don’t think you understand how much I love this woman. She changes the physiology of my body–but only an asshole would say “she changes the physiology of my body.” I can’t breathe when I see her. There is like a gaping hole in my abdomen where my appetite used to be when I see her. She utterly stupefies me. She’s one of the most beautiful women I’ve ever seen in my life. So why would I want to fuck that up by listening to her sing and have her turn into Russell Crowe all over again? No one needs that shit. So I knew she was singing…and I politely ignored it.
Then, one day, on the Twitter, I said something about something she wrote, and she wrote back. (Soon I was to discover that she is very responsive to her fans. Like, VERY responsive. If I my girlfriends were that responsive to me, I probably would feel better about myself as a lover.) All of the sudden, this actress that I had admired, easily, for 20 years, was conversant. Shit! Fuck.
I downloaded her debut album. Because I felt guilty that I hadn’t listened to it. I didn’t know how to tell her “I have loved you for 20 years as a sporadic actress. I don’t want to heard your shitty vanity album and have all that love turn to hate.” It was released in 2009. I can’t remember being so scared to listen to anything in my life. Again, you have no idea how much I’ve admired Jill Hennessy as an actress. And then there was Russell Crowe, Russell Crowe, hounding me in the back of my mind. I felt like I was losing my virginity for the first time all over again.
God, I was scared.
That was like two months ago. I haven’t really stopped listening to it since. I’ve kinda turned psycho about how much I love it.
So that’s the review you’re going to hear.
Remember how I said Rosanne Cash is so polished? Well. Jill Hennessy isn’t. And yet.
When I listen to some of her songs, it sounds as if she is playing for money in a subway…which kind of is perfect, because that is how she started.
I have my friend Rosanne Cash publicly saying that “It’s a mistake to say that songwriting is therapy,” and then there is Jill Hennessy saying that, yes, her songs were therapeutic.
(I just realized that I called Rosanne Cash my friend. We, (and by we I mean me and my cats) will let that go. C’mon. Let me die with my cats and my “friendship” with Rosanne Cash.)
I was so scared that Jill Hennessy was going to suck as both a singer and songwriter. I was just…I didn’t want to touch it for years.
But, I love Ms. Hennesssy’s work for almost the exact opposite reasons that I love Rosanne Cash’s.
I don’t understand the profession of songwriting. But there is something about Jill Hennessy’s voice that completely hypnotizes me. Her lyrics are so raw and personal–whereas Rosanne Cash’s are so ephemeral & universal.
After accepting that Jill Hennessy was a singer, I have learned a little bit about her history, and I now know that she began her career singing for money in the subways. You can totally hear that in her debut album.
But there are some songs that break through that busking genre and give you hope that there is something powerful underneath. I cannot stop listening to 4 Small Hands.
(Full disclosure: Before I started to listening to Jill Hennessy, I had no idea what “busking” was. I thought it was a city in Canada. Now I’m tossing the word around like I’ve used it for years. I’m 44, people. I had no idea what it was about 3 months ago.)
Apparently, when Jill Hennessy started her life as an artist, it began as a street musician.
It’s always ridiculous when you tell your friends “Hey, listen to these things!” “I like them! And if you like me, you’ll like them, too!”
Rosanne Cash’s new album and Jill Hennessy’s debut album are two totally different things. One is polished and composed and professional and the other is open and raw and intense. One knows who she is and where she comes from. One is trying to find a foothold in a harsh business. I love both of them.