By Jeremy Hallock
By James Khubiar
By Observer Staff
By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
For the better part of the past decade, the term "angelic" has been oft-applied in discussing the multi-talented Carrie Rodriguez and her music.
To be sure, the molasses-coated twang she imparts is very much the stuff of heavenly creatures. So are her skills with almost any instrument bearing strings, especially the fiddle. Oh, and then there's the title cut from her solo debut album from 2006, Seven Angels on a Bicycle, which also deals in the supernatural, albeit from a more somber perspective. Hell, even her 2008 album, the more rock-driven She Ain't Me, saw Rodriguez displaying both the bruising of broken wings with "Ragdoll" and the devilishness of a proper diva with the title track.
These days, though, Rodriguez's most angelic attribute is her sharing of the spotlight. Early this month, she and Romantica's Ben Kyle teamed up for the immaculate We Still Love Our Country, an album that is without a doubt stone-cold country, but sweet enough to lack any pretense.
Yep, that halo sure fits nicely atop Rodriguez's curly locks.