The Rocking Magpie | Bonnie Whitmore's 'Last Will and Testament'
A Rewarding and Accomplished Journey Across the Heart and Soul of American Roots.
I first came across Bonnie Whitmore on her prior *release “Fuck With Sad Girls” which signalled a confident world and musical view, born out of getting out there, playing and doing.
That confidence is clear from the start with the opening title track “Last Will and Testament” which could easily fit on Richard Hawley’s “Further” album; being a Glam Rock classic stomper but embellished with luscious strings.
Then, the beautiful and charismatic “None of My Business” which follows, taking a sideways swerve into classic anthemic Soul.
“Right/Wrong” takes on one of the many ‘big issues’ tackled by the album, the state of America today and it does so with classic American Petty and Spectoresque forms – the focus shifts on “Fine” to the cyclical nature of personal relationships, where Bonnie even manages to out-Springsteen’s Springsteen!
Things are kept uptempo and angry on “Asked For It” which tackles systemic attitudes towards rape culture and fittingly resolves itself with “she didn’t ask for it!”
The tempo is slightly eased in mid album where “Time to Shoot” is underscored with a ticking metronomic clock and builds up into a crescendo of swirling strings and asks “is it worth it?” – a recurring feature of the lyricism is the use of direct address wrapped in a pop sensibility that can’t help but put the listener on the spot, emotionally and philosophically. “Love Worth Remembering” moves back into more personal territory, with its confessional feelgood organ accompanied deep Soul.
There’s even more variety on “Imaginary” which has echoes of a European folk ballad stretched over Tom Waits carney-style percussion and accordion keys.
Despite the lyrical themes of uncertain inspiration and fulfilment, it’s a song rich in imagination.
“Flashes and Cables” uses a retro-processed vocal as an intro before exploding into the request and hope that
“won’t someone please save us”
because
“nobody told us that the bastards were here”
– a cry against the all-pervading technology that observes and infiltrates our lives these days.
To end the album, “George’s Lullaby” unsurprisingly takes things down a notch or two, with tinkling piano, brushed drums and chamber strings to frame a reassuring tale of love found.
It’s a good sign that after these ten tracks, the listener is left wanting more – this being a rewarding, varied album which covers a range of musical and lyrical bases, but which is united by Bonnie Whitmore’s distinctive vocal and lyrical presence across all tracks.
There’s cross-over appeal, passionate feeling and creative edge – all at the same time – and you can’t ask for much more than that; can you?
Review by Nick Barber
Released October 2nd 2020
https://bonniewhitmore.com/
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https://bonniewhitmore.bandcamp.com/album/last-will-testament
*RMHQ seems to have missed the middle two albums in Ms Whitmore’s catalogue … but we were there in 2013 with THERE I GO AGAIN.