I don't know when or how Kelly Hogan became afraid of songwriting. If you asked her, she'd probably say it was never her true calling and was foisted on her by former bandmates and collaborators out of inconsiderate necessity. I could buy that. Singer first, housepainter second, dog owner third, and songwriter fourth (tied with ex-publicist for Bloodshot)-- that's how she'd self-identify, I'd wager. Songwriting to Hogan seems nothing more than a chore, an unhappy exercise that's just a means to an end (the "end" being getting to sing it). So, what's the best way to get out of a chore? Anyone with a sibling knows the answer: get someone else to do it. Which is exactly what she's done on her new record.
Because It Feel Good is her sophomore solo album, not counting last year's collaboration with the ad hoc Pine Valley Cosmonauts, Beneath the Country Underdog. But perhaps we should count it. This album has a lot more in common with Underdog than it does Kelly's first foray recording under her own name-- 1997's The Whistle Only Dogs Can Hear. A group of stellar musicians, for example, including Andrew Bird on the catgut, Bloodshot session guy Jon Rauhouse, and RockATeens frontman Chris Lopez on loan, handling Futura and organ duties. The other common trait is the lack of Hogan originals versus the hand-picked covers: 80% hand-picked covers to be exact. Contrast that with Whistle where two-thirds of the songs were Hogan or Hogan/Taft compositions and you quickly get the sense that Kelly's heading into Mary Lou Lord territory with her increasing reliance on cover tunes.
The two songs Hogan does offer us are among the best on the album. "No, Bobby Don't" has a poodle-skirt, 50s doo-wop vibe. Hogan's rich, butter-thick voice teams up with Andrew Bird's light touch on the violin for a very classic, Grease-like moment. Later on, her second track, "Sugarbowl," is the only thing that comes close to sounding like her earlier work: powerful, arching vocals and a playful melody spiked with bittersweet lyrics.
The covers are more of a mixed bag and, ultimately, are what prevent this album from being a stronger release. Always known for tossing in a left-field choice or two, Kelly tackles Smog this time. It was nice to hear "Strayed" from Dongs of Sevotion filtered through Kelly's comparatively sunny vocal treatment. A weird warping of Charlie Rich's "Stay" closes out the album. Heavy-effects organ, pedal steel and a complete lack of percussion brand the song as Hogan's unique interpretation. The result is a nearly a cappella feel, despite the fair amount of instrument being worked over in the background. Yet, while both are nice, neither is necessarily essential.
Other covers don't fare so well. Because It Feel Good opens with a singular treatment of the early 70s hit, "I'll Go To My Grave Loving You." Other than the novelty of hearing a Statler Brothers song stripped of virtually all of its Statlerness, I don't feel moved at all by a very empathic rendition. Other weak moments abound in song donations and gifts from relative unknowns (Amy Pike is still flying below even the most sophisticated musical radar). And the Randy Newman song near the end of the disc is a slight improvement on a lesser song by the king of cornball piano-pop.
But what are we really reviewing here, Hogan's taste or her creativity? Well, due to the nature of the project, both actually. Can Kelly sing? Like no one else on this earth. Paradoxically sultry and angelic, her wonderthroat is tinged with a jazzy-loungy vibe that traces all the way back to her early 90s days with the Jody Grind. Hear it once and you'll never mistake it again. The disc is worthy of some attention just because it's another rare moment when her swoon-inducing voice is put to plastic.
Can she pick good songs to cover? Once upon a time, yes, but not so reliably here. A few of the tracks were interesting to hear recast-- "Strayed," King Floyd's "Please Don't Leave Me Lonely"-- but at least an equal number were unwelcome guests. I could have accepted an EP-- one that was that much lighter and leaner for having jettisoned the Randy Newman and Statler Brothers at the minimum.
Can she overcome her reluctance to pick up the pen and write with the kind of self-confidence that will allow her to start churning out albums instead of "projects" or "collaborations?" I don't know, but it sure would be nice.
