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Spawning an international Top 10 single--the laconic, deceptively lightweight "Sunny Came Home"--Shawn Colvin's first album of original material in four years was as eclectic and as wayward as its predecessor, 1992's critically acclaimed Fat City. While she undeniably owed much of her appeal to her talents as a vocalist--her interpretations
Spawning an international Top 10 single--the laconic, deceptively lightweight "Sunny Came Home"--Shawn Colvin's first album of original material in four years was as eclectic and as wayward as its predecessor, 1992's critically acclaimed Fat City. While she undeniably owed much of her appeal to her talents as a vocalist--her interpretations of other people's compositions on 1994's Cover Girl proved her to be a shrewd judge of a song's inherent strengths--her popular success remained somewhat surprising. For one thing, her world view was significantly darker than many of her contemporaries: few female singer-songwriters of her generation would write so pitiless an account of human weakness as "The Facts About Jimmy" (on which Colvin duets with another friendly misanthrope, Lyle Lovett), much less utter the dark pronouncements of "Suicide Alley". It just goes to show: if the tune's pretty enough, most people don't listen to the words at all. --Andrew McGuire
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