Reviewing the soundtrack for a film you’ve not seen is a tricky act. It’s like reviewing a book based on its pictures – you’re missing the context of the music’s purpose. But then, not all soundtracks are created equal, and Wild Rose is one designed to stand on its own two feet. The film stars Jessie Buckley as aspiring country star Rose-Lynn Harlan, recently released from prison and struggling to balance her responsibilities with her dreams. Hell, the only thing that doesn’t tick every country cliché is the Scottish location.
The album features a combination of familiar covers and original songs co-written by Buckley, composer Jack Arnold and screenwriter Nicole Taylor. They’ve clearly been written with a love of the genre. Lead single “Glasgow (No Place Like Home)” fits perfectly alongside Emmylou Harris classics, while the wonderfully titled “Alright To Be All Wrong” and “Covered in Regret (Black, Blue & Red)” offer nice surprises within their traditional structures. Odes to heartbreak, pining and working lives are all here, and sounding pleasantly sincere.
It is the voice of Jessie Buckley that carries this record. Now a much respected actor, you’d be forgiven for forgetting she made her name as a contestant on Oliver!-themed talent show I’d Do Anything. It is perhaps this musical theatre background that makes this album so utterly convincing; she’s more than just singing, she lives the role. Her voice cracks with sentiment before soaring high above, and I’d doubt any country connoisseur could tell the difference between her and the latest Tennessee star.
It’s a hefty collection, coming in at 21 tracks, and perhaps could’ve benefitted from some trimming. Original song “Robbing the Bank of Life (Stealing the Night)” is upbeat but rather disposable, while the countrified version of Primal Scream’s “Country Girl” whiffs of radio accessibility. Instead, it is some of the more obscure covers which leave the largest mark – “When I Reach the Place I’m Goin’” by Wynnona is given an infectious PJ Harvey groove, and Patty Griffin’s “Crying Over” howls with emotion over an ominous double bass drone. The final tracks are dedicated to the film’s score and a bonus live performance, nice if inessential additions. It’s Buckley’s voice and the dedication to the genre that make Wild Rose work, even separately from the film. However, after listening to this album, a trip to the cinema is proving a great temptation.
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