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It's a beautifully understated album of personal confessions, wandering thoughts and worldly observations, all rendered with the assurance of a naturally gifted vocalist, one who clearly has no need for auto-tune or other irritating tonal tampering devices.
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UncutThis terrific record is the first on her own Everso imprint and seems to finds her more settled. [Oct 2010, p.89]
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Produced with exquisite balance, these ten self-penned songs reflect what Lynne's learned about the studio process in her 20 years as a recording artist.
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Tears, Lies, and Alibis is an album worth buying mainly for two reasons. Firstly the opening track, Rains Came. It sits in what sounds like a familiar bed, but doesn't quite go where you expect it to, and is, this time, lyrically opaque. Secondly, you can drown in her voice. It is fabulous; not an in-your-face "listen to how many octaves I can leap" sort of way, but it effortlessly convinces you she's lived this stuff, and means every word.
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Lynne has always been a commanding vocalist, and age has only sharpened her delivery and given her more to sing about.
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Her typical lyrical bent remains, but musically, Tears, Lies & Alibis is largely a spare, acoustic affair.
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Her production instincts are spot-on, never overindulging in the freedom afforded by her role as the producer. Unfortunately, Lynne's songwriting isn't as sharp here as it has been on records like Suit Yourself and Identity Crisis.
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Q MagazineShelby struggles to get her dues outside conventional country circles, but Tears, Lies And Alibis is far from conventional. [Nov 2010, p.111]
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The songs that round out the album similarly waver between sparse tunes aiming at etherealness and ballads that strive for languor. None quite work on their own, and I lose all sense of where we're headed.