Vancouver’s Sara Lynn is not who you think she is. Just when you imagine you’ve got her pegged, the singer songwriter will up and surprise you by revealing something that makes you reconsider your original hypothesis. Her sophomore release, Don’t Call Me Angel, carries on the ever-evolving Sara Lynn story in a most fitting fashion.
She’s got the looks, fashion sense, confidence and vocal talent of a top-of-the-charts singing sensation, but Sara Lynn has a unique quality that sets her apart from the mainstream. Think Amy Winehouse’s retro groove, the worldly pop of Madonna, a smidgen of soulful Adele and a pinch of Natalie Merchant-style Americana and you’ve found a starting point for this leg of Sara Lynn’s musical journey.
“It’s truly an honour to be compared to these artists,” she says humbly. “But my music comes from deep within my soul; I sing from my heart, and don’t follow trends in order to sell records.” I have the greatest respect for every strong musical female that’s gone before me and they have helped to inspire me in becoming the artist I am today.”
She may be a relative newcomer but Sara Lynn is no stranger to the U.S. music charts. A Thing or Two and A Love Like This from her debut album Thing For You, a decidedly more Americana-flavoured outing than Don’t Call Me Angel, charted on the Music Row Country Breakout chart and on both New Music Weekly’s main Country and Indie charts. But before pigeonholing her as a rising country star, know that Sara Lynn’s debut really only hinted at the musical direction to come on Don’t Call Me Angel.
Sara Lynn says of her early American radio successes, “I wouldn’t necessarily consider those songs to be country, more Americana than anything else. I’ve always liked that flavour and I’ve kept some of it on this album in songs like Walk Me Home and Shape I’m In. I think when I was writing them I really hit my stride, I felt really good about where it was going.”
Sara Lynn was headed towards a tightly knit collection of smart, confident, well-crafted songs that reflect her eclectic nature, musically and personally. Finding chemistry with co-writers including Richard Dolmat, Jason Nickel and Juno winner Tim Hearsey helped Sara Lynn explore musical paths she hadn’t previously probed, resulting in an impressive collection of internationally-flavoured tracks that skilfully mine the rhythms and traditions of swinging jazz, dance, pop, soul, folk, electro, chill-out and Americana.
“I am so proud of what I’ve been able to accomplish with these songs,” says Sara Lynn.
“This album really speaks to where I’m at right now, as well as to the things that make up who I am and how I’ve come to be standing here today.”
It’s been quite a journey to get to Don’t Call Me Angel. The hundreds of hours logged writing songs, thousands of hours spent on large and small stages across North America, and countless time in between finding inspiration in the situations and people around her have resulted in a cohesive, fresh sound that hugs the curves of multiple genres without planting a foot firmly in any one.
“I guess as an artist I’m taking a bit of a risk in making such an eclectic album,” she admits, “but I figure you’re never in the same mood all day long, and it’s that way with music – albums don’t have to sound the same from start to finish. People don’t want the same thing over and over – that’s why they make variety packs.”
Case in point is Don’t Call Me Angel’s first single, Gorgeous Imperfection. A firm believer in female empowerment (“I’m a big fan of women like Pink, Bonnie Raitt and Chrissie Hynde”, she says, “because they’re not afraid of being seen as strong”) Sara Lynn knew the sample track that eventually became Gorgeous Imperfection was strong enough to demand equally robust lyrics so she set about crafting an inspiring ode to celebrating the beauty in being flawed. Layered with a sensual, hypnotic, electro-pop groove, it’s a musical message that unites body and soul.
“I like things that are different,” she says. “And Gorgeous Imperfection is really about honouring your personal magnificence, even if it’s not traditionally viewed as mainstream beauty. Things that aren’t perfect are sometimes more beautiful than those that are.”
What comes close to perfection is the sexy, jazzy vibe that anchors Walk Me Home, one of the songs that awakened Sara Lynn’s new musical direction and helped her find her stride. Led by a swampy bass and Pulp Fiction-esque guitars it conjures up the heady mix of anticipation and expectation that surrounds connecting with a new lover-to-be.
Another stand-out is Storm Crow, which Sara Lynn describes as having “a cool flavour.” “Although it’s more poppy and soulful it’s still a bit dark,” she says. “It’s about being in love with someone who’s lying to you, and you know they are lying but you still want to believe them.” She laughs, “It’s all about denial, really.”
And one of the surprises of Don’t Call Me Angel is the inclusion of Shadows, a Spanish-flavoured track from her debut album that has been given the dance remix treatment this time out. “That was one of the more difficult songs I’ve written because it’s so personal. It’s about having an alcoholic father and some of the choices he made. We never really promoted the song on the last album but it immediately connected with audiences because, as someone at my CRS showcase put it, ‘nobody else could have written it but you.’”
The dance music treatment doesn’t dampen the song’s emotional force, because, as Sara Lynn explains, “I think you can take pop music to the dark side without sacrificing the message or the beat. Shadows still has a melancholy to it even as a dance mix, but you can take a song that works acoustically and reach a different audience with a remix, allowing you to keep the message alive.”
Studio work completed, Sara Lynn is eager to hit the road in support of Don’t Call Me Angel. “I want to get back out there playing for audiences again. The great thing about live music is its energy and unpredictability – you don’t know what’s going to happen; I don’t know what’s going to happen, and it’s a different show every night. I love that it’s a collective experience that’s very personal at the same time.”
It’s that personal connection that binds Sara Lynn to her audience, both on stage and in studio. Known as a movie buff, aspiring foodie (who thinks she’d make a perfect Iron Chef Judge) and passionate supporter of animal rights (she backs up her convictions with regular donations of time, talent and funds to the BC SPCA’s Biscuit Fund, which provides emergency care to badly abused animals), it’s through music that Sara Lynn expresses herself most compellingly.
“I wouldn’t do this if I didn’t love it,” she says. “There are times when you’re dealing with flaky musicians, writers block, not getting gigs etc. and you think ‘God I just can’t do this’. Sometimes you just get tired, but because I love it so much I just can’t stop. There’s nothing like it – it’s a very special thing.”
How fortunate for the rest of us.
Reviews:
“A real musician with vocals that remain in your head after the CD is done. I have listened to this album 3 times and it gets better every time. Sara Lynn is the total package and this album shows that. My favorite track is “Storm Crow”. — Michael Friedman, CEO – Skope Magazine
“For those unfamiliar with her sound it is one of eclectic tastes and styles wrapped up into emotional lyrics. Sometimes raspy to suit the mood the harmonies all fall into place with this Canadian chanteuse. Bouncing in her production and writing capabilities from rock to danceable much like Nelly Furtado and sliding into warm soulful ballads similar to Sarah McLachlan, Sara Lynn can be marked up beside these artists on any chart with great confidence. On the Shadows Remix which is a great dance floor track much like the days of Madonna’s reign in the mid 90’s it just shows how Sara Lynn can diversify her sound and her many talents. Already known in the USA through indie and country chartings starting early 2010 she will be escaping across our continent to showcase her many inspiring songs along with newer material.” — Marc LaCasse – !earshot Magazine
“Don’t Call Me Angel belongs everywhere; on the radio and the dance floor with the Latin-influenced “Shadows (Remix),” the power ballad “Storm Crow” and the wonderfully narcissistic “Gorgeous Imperfection,” in a Martini bar with the first track (and great intro) “Won’t You Walk Me Home,” or in your pink Cadillac with “I Love This Ride.” There is something for almost every taste on this album and that is one reason it succeeds.” — Jeremy Grand – Perpetual Toxins
