Album Review: Laura Blackley and the Wildflowers — Tell it to the Darkness
An engaging Southern gothic troubadour, Laura Blackley is a beloved fixture on the regional live concert circuit. On Tell It to the Darkness, her well-honed strengths are on prominent display. Chief among her assets is a skill at crafting thoughtful lyrics — word pictures, really — that work as well on the printed page as they do within the context of songs.
The tasteful yet energetic musical backing throughout the album is reminiscent of classic country: judicious use of pedal steel and shimmering electric guitar; warm and inviting acoustic guitar; and a rock-solid rhythm section. But Blackley’s lyrics are the centerpiece of Tell It to the Darkness.
Most notable among the album’s 11 tracks is “Good Night Orlando,” a tribute to the victims of the tragic June 2016 attack on the Pulse nightclub that took the lives of 49 people. Rather than chronicling the events of that day, Blackley focuses on a slim glimmer of optimism as she repeats the refrain, “Love is all we ever have.”
As assured a vocalist as Blackley is, when she harmonizes — as on “Miss Nina” — she’s even more effective. And when she turns in a more rocking direction on “Mama Don’t Cry,” Blackley demonstrates that her songwriting mastery need not be contained strictly to country. Lyrics like “You don’t have the luxury to self-destruct / ’cause girl you got a baby to raise” will ring true to listeners, parents or not. “Black Mountain Sugar Babe” showcases Blackley’s facility at suffusing country-blues with humor (not to mention Andrew Scotchie’s tasty slide guitar solo).
The sole cover on Tell It to the Darkness is a reading of “No Expectations,” a deep cut off the Rolling Stones’ 1968 LP Beggars Banquet. Blackley makes the tune her own; unsuspecting listeners won’t even know it’s not an original.
About the Author
Bill Kopp
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day since 2018). The 4500-plus interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He regularly hosts lecture/discussions on artists and albums of historical importance (including monthly events Music to Your Ears and Music Movie Mondays), and is a frequent guest on music-focused radio programs and podcasts. In Spring 2023 he taught a history of Rock 'n' Roll at UNC Asheville's College for Seniors. He also researches and authors liner notes for album reissues -- more than 30 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, was published in 2021 by HoZac Books. His third book, What's the Big Idea: Great Concept Albums will be published in 2024. Read even more about him here.