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Mar 21, 2013The Stand-In is a gorgeous-sounding chronicle of such archetypal props, characters, and sounds, though the conceit does occasionally smother their narrator’s natural, vital wit.
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Mar 21, 2013She has a tone that melds well with silky background vocals and just enough pedal steel.
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MagnetMar 15, 2013It's all gorgeous arrangements, soul-wrenching songwriting and heartbreaking stories, inhabiting a space that's both rock and country, indie and folk, without pandering to the lowest common denominator. [No. 96, p.59]
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Mar 13, 2013It’s not so easily classifiable as “country,” but easily classifiable as really great pop music.
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Mar 12, 2013It’s an easy listen with difficult layers, and if Rose quickly secured her status as a top young voice in country music a few years ago, she’s now cemented her position as an important one.
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Mar 8, 2013With an album as consistently strong as The Stand-In at this early stage, she has an impressive career ahead.
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Mar 7, 2013Most of the tracks could be singles, successfully marrying a pop sensibility to country twang without sacrificing the best aspects of either approach.
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Mar 7, 2013Mostly, it's the wilting pedal steel, warm analog tubes, and lush heartbreak flourishes of "When I'm Gone" that distinguish Rose from the merchants of new country's jingles.
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Mar 5, 2013Rose isn't trying to be all traditional country here, or even all straight pop either, but somehow she effortlessly melts the two together, and this set is definitely a winner, full of solid playing and, of course, Rose's easy and comfortingly wise vocals.
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Feb 26, 2013The stories Rose tells are as fresh as wet ink.
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Feb 25, 2013Though some of the good-girl-gone-bad shtick has been sacrificed on the altar of go-for-it jangly pop, she's still as good as it gets when she finally opens her pipes on "Dallas".
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Feb 22, 2013This follow-up builds on the feisty freshness of Caitlin Rose's Own Side Now, her debut from 2010.
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Feb 22, 2013Those who were endeared by Rose’s debut may be surprised, hopefully pleasantly, by the change in tone and attitude shown on The Stand-In. Nevertheless, it is a delightful record.
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Feb 22, 2013The trick is that, while you know that she's stretching, she never sounds anything less than completely comfortable and in total control.
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Feb 21, 2013A smidgeon of Rose's old spikiness is sacrificed, but it's easily a fair swap for songs bulging with terrific hooks and killer choruses, all of which belie some melancholy content.
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Feb 20, 2013Mainly, though, if Caitlin Rose is the future of Nashville and American country music, then it would seem that its future is in safe, appealing and mellifluous hands.
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Feb 20, 2013The Stand-In has everything that made its predecessor special--big voice, expertly crafted tunes, clever backings, a deft mix of stridency and restraint--but is definitely a step up.
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Feb 20, 2013Despite this run of two poor(ish) songs, the album is largely excellent--a record bridging the gap between country music and popular music’s less derided genres perfectly.
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Feb 20, 2013While it manifests in a way that’s less playful than on her debut, it’s replaced by a gravitas that befits a sophomore record.