Many of the tracks on Amy Speace’s latest record, The American Dream, turn out to be about marriage and what happens after. Sure, the name music seems to be about something else. It’s an “apolitical nationalistic” song about her thoughts from 1976, according to Peace. She reflects on her ignorance over an acoustic guitar, but she is already mature enough to know much. Any child her time will recall her friendship and bike riding. Again next. But, America recently divorced itself from President Nixon and finally his successor, President Gerald Ford.
Amy Speace may want to “hold on small to the American Dream,” but it has already turned into a problem for the country. The track may be a wonderful tribute to a golden era, but it’s the musician’s past, not the government’s heritage, being recalled. Riders in their bikes and hanging out with friends are as blissfully unaware of the larger social pain that affects America today as Second-Grade students were. The perception of the past is weakened by this unity.
The rest of The American Dream’s content deals with love, lost passion, and the ongoing conflict. Songs such as” Where Did You Go”,” Glad I’m Gone”,” Already Gone”,” I Break Things”, and” Love Is Gonna Come Again” could serve as a soundtrack to a Hallmark movie about the end of a relationship and starting over. That’s certainly meant as an attack. There’s a cause the Hallmark network is effective. Some outstanding works of art feature salty sentimentality and a glad end. Peaceful, clever lyrics with intelligent observations about complicated emotions. She straight-forwardly delivers lines such as” for better or worse, I guess we were wrong” and” they say people change, you just stayed the same” like she’s a lawyer reading an indictment.
But, Speace subscribes to the no one is to blame school of thought. She’s willing to find wrong with her lover, but she is also fair enough to blame herself. It takes two to fall in love, just as it does for two people to fall in love. As a result, the singer-songwriter lets everyone off the wire. Often, like merely ends. I’m no expert on the subject, but I call crap.
Amy Speace is a very brilliant singer. This album’s few tracks have a folk pop-infused, shimmering veneer. Producer/drummer Neilson Hubbard keeps the intensity moving forward with support from guitar Doug Lancio, bass Lex Price, keyboardist Danny Mitchell, cooperation musician Garrison Starr, and violin player Joshua Britt. Some tracks were co-written by well-known Nashville cards Robby Hecht, Gary Nicholson, and Jon Vezner. A high-quality generation like The American Dream exudes expertise. There are no bad information or incorrect sentiments.
However, I wish Speace had put on her protective clothing and say things like “my fan was an asshole” or “my desire for another was too powerful to ignore” instead. The mature singer-songwriter needs to examine herself and her behaviour more in light of her portrait of the young lady, which emphasizes the value of community in a turmoil and ignores the reality around her. What Speace does n’t say makes her well-crafted songs easy to swallow. That’s a gift as well as a plague.