Album Review – The Secret Sisters’ “You Don’t Own Me Anymore”

The purest kernel of what is true country music, is pairs of family members or groups of family members singing together for the edification of each other, often in the form of ancient melodies and songs passed down through generations. In the early times of the deep South and Appalachia, there were no recording devices or radio, so families had to rely on each other for their entertainment, and the back porch was their stage.
The point of country music has always been to carry those traditions on from previous generations to the present day, and that is why some get so sideways when the term “country” is employed for music that couldn’t be farther afield from those picking parties on family farms and back porch gatherings in mountain hollers.
Luckily though, there are still plenty of artist who still carry that original approach to country music in their hearts, and by exhaling in song and harmony, they’re able to awaken ghosts and stir juices that more contemporary versions of country just fail to capture. The Secret Sisters comprised of Laura and Lydia Rogers are one of these such groups, gracing audiences with the haunting ability to recall the nascent, primitive times of country and folk music’s past with their intense and perfected harmonies, yet with stories and emotions that still feel very relevant to the modern-dwelling soul.
When it comes to neotraditional singing duos, The Secret Sisters are regarded at the very top of the discipline. However that hasn’t exactly won them the fame and comfort that is usually reserved for the esteemed and elite of a medium. Showing incredible promise early on, the sisters were able to sign a major label deal with Republic Records—something usually unheard of for an act so traditional and pure. But their early success in some ways set up their ultimate undoing. When the sales did not match the promise and critical-acclaim, they became beholden to their label more than they were to themselves, and we all know how the major label story ends more times than not.
The Secret Sisters second record Put Your Needle Down released in 2014 was produced by acclaimed roots music personality T Bone Burnett. Dave Cobb—who when the album was recorded was still a semi-unknown to the greater public, yet poised to reap the rewards of producing monster records from Sturgill Simpson, Jason Isbell, and Chris Stapleton that would see the light of day after the Secret Sisters project was in the can—also had some role in the project. But what that role was apparently was mostly placated by T Bone.
With a heavy producers hand, T Bone did his worst on Put Your Needle Down, taking that pure nugget of the country music ideal The Secret Sisters embodied, and trying to turn it into modern indie rock. It was an interesting project, and undoubtedly The Secret Sisters shined through with both their songs and voices. But it set them up to fail by going away from what the duo does best, and replacing it with T Bone Burnett’s production.
Saving Country Music’s review of the duo’s previous record started out,
Produced by T Bone Burnett, the new Secret Sisters album called Put Your Needle Down—the sister duo’s first record in nearly four years—was produced by T Bone Burnett. T Bone Burnett produced this sophomore effort, and lending his efforts in a production role was T Bone Burnett. T Bone Burnett, T Bone Burnett, T Bone Burnett.
Did I mention that T Bone Burnett produced this album? Okay good. Because apparently that’s a more important point than who this album is by and what it’s titled, and T Bone’s name must precede this information in any copy or conversation.
It’s not that T Bone Burnett isn’t an accomplished and successful producer. I mean hell, you can’t stick your nose anywhere in the Americana realm without finding apostles of T Bone telling you how brilliant he is. The problem though is the hype around his work has become so pervasive, I’m afraid he’s begun to believe it himself, and uses it as justification to employ an extremely heavy hand in his producer capacity, relegating the artists he works with as secondary, if not arbitrary to furthering the weight behind his own name. Or at least, that’s the way it sounds.
At the time the review was written, it was nothing more than wild-eyed speculation that conflict had brewed behind-the-scenes with The Secret Sisters’ sophomore record and T Bone Burnett. But those suspicions were apparently warranted, and staring at the idea of promoting a record they weren’t 100% sold on, the entirity of The Secret Sisters project began to enter a death spiral that it would succumb to for the next couple of years after the release.
All that’s in the past though, and now with their new home of New West Records, The Secret Sisters can get back to what they do best, which is being themselves, and shivering spines with the incredibly smooth precision of their close harmonies, and the enrapturing nature of their storytelling. But their experience with their first two records also creates the foundation for the narrative found on their new album, the aptly-titled You Don’t Own Me Anymore. Though many of the songs could be taken as that of a jilted lover looking to extricate themselves from a terrible romantic relationship—or the requests to be let go by the enslaving nature of a lover’s grasp—it happens to be the stories also meld to fit the business side of The Secret Sisters story as well.
In truth, it’s probably a little bit of both the personal and professional that comprise the inspiration for this new collection of songs produced by fellow artist Brandi Carlile, who has toured and written with the duo before, and has been one of the sisters’ staunchest champions, especially through the lean, post-major label times that saw the sisters having to take odd jobs just to stay financially afloat. As a devout student and practitioner of harmony herself, Brandi knew it would be tantamount to sin to see this project fall apart.
The very early roots of country music are intertwined with the sorrows of pining females awaiting the right beau to steal their heart, or to take it from them when offered. This theme is predominant throughout You Don’t Own Me Anymore, especially in songs like the heart-wrenching “To All The Girls Who Cry,” and the nesting “Til’ It’s Over.” But the subsequent step is the empowerment that comes through the mending of a broken heart—or the broken promises from a record label—and understanding that life goes on, and you must seize your own destiny and fate. All of these are lessons and stories that despite the vintage textures of this music, are relevant to today’s experience as they were to early rural settlers 90 years ago.
With harmonies so seductive and inspiring, you’re almost required to try them out on a cover song or two, and this album includes a Secret Sisters version of Simon & Garfunkel’s “Kathy’s Song,” which interesting was sung solo originally, not with the harmonies the duo was known for, and how Laura and Lydia sing it here.
You Don’t Own Me Anymore is sad, pleading, powerful, and poignant. Yes, it’s an album of empowerment, but the stains and bruises of repression and heartbreak are still what are top of mind, and need to be sung out through verse to have their pain expelled, similar to how settlers sang starkly of the death, loss, heartbreak and fear that surrounded them in early America.
The experience of The Secret Sisters in the music business is a nauseating, angering thing to behold, and too prevalent in a period when the classic tones of country have fallen out of favor, and so has female representation in mainstream circuits. But it also resulted in an inspired, passionate, and engaging effort that is both fetchingly vintage in its textures, while be starkly relevant to the experiences of today.
1 3/4 Guns Up (8.5/10)
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June 22, 2017 @ 10:13 am
Thank you I’ve been waiting for this review, This album got 4/5 In a Swedish review. But your reviews are more thoughtful and more interesting. I like most of the songs on the album but Tennessee River Runs Low” is really a favorite of mine. It’s so beutiful.
And I’m happy you didn’t compared them with FAK as so many people do. Their way of harmonies and style of singing Are too different to allow such a comparison…
June 22, 2017 @ 10:55 am
What is “FAK” ? I’m honestly curious as to if it’s a band or a style of music or what, I’ve never heard of it before.
June 22, 2017 @ 11:00 am
FAK – First Aid Kit
June 22, 2017 @ 11:15 am
That would be Swedish duo First Aid Kit.
June 22, 2017 @ 11:54 am
It’s a band and FAK is short for First Aid Kit. But they are not American they are two Swedish sisters and just like The Secret Sisters they do a lot of harmonies but are more poppy than The Secret Sisters. That’s why I think they cant be compared to each other. But people still often doing that…I think they (The Secret Sisters) are more like The Staves a sister band from UK even though they are also more poppy….
June 22, 2017 @ 3:29 pm
I actually think their harmonies and the instrumentation, on at least the one song Trigger linked, sound very similar to some early FAK material, like the the Big Black and the Blue album. At least to the casual listener. I’m not too familiar with the Secret Sisters so there are many differences, but an FAK comparison was the first thing that popped into my mind, even before reading your comment.
June 22, 2017 @ 3:30 pm
*I’m sure there are
June 22, 2017 @ 4:46 pm
“sound very similar to some early FAK material, like the the Big Black and the Blue album”
Yes, I agree with that…both on Big Black and the Blue album and The Lions Roar” they did more classic/old school vocal harmony, like The Secret Sisters.
But not so much these days and I missed that.
They are of course still doing vocal harmony but in an more experimental way. And Johanna is at times even improvising during their singing.
This is from a consert in Stockholm last monday. They had an “guest artist” Whom they sang “Graceland” with, them doing the harmony The audio is as usual bad. (smart phone recording) But unfortunately, so were also their harmonies even if it is difficult to determine it could of course just sound that way, due to the bad audio…
I hope my text make sense I’m bad at expressing my self…
https://youtu.be/ITVuKFEpNwA?t=1h7m59s It takes few seconds before they start singing “Graceland”
June 24, 2017 @ 6:30 am
One thing’s sure they still have some fans in UK this is from Glastonbury festival: https://www.bbc.co.uk/events/ec584f/play/p056f6ty/p056sbp5
Even though this song is no favorite of mine. I do like the Steel guitar break they have added and I like this version much more than the studioversion…
June 24, 2017 @ 9:58 am
Sorry for again being bit off topic. Another female, Margo Price, also did well at Glastonbury… https://www.bbc.co.uk/music/audiovideo/popular#p056rzx0
And today she’ll be in Norway…
June 22, 2017 @ 11:18 am
THIS IS WHAT I WANT!!! when we talk about Country women THIS IS IT RIGHT HERE!
Can we all just focus on this record, put down your protest signs, turn off your tvs and your facebooks and your kneejerk reactionism and just enjoy this record? one singular united humanity enjoying a great record?
TRRL just sounds so fresh, so different from anything else in music, the way the harmonies purposely clash is just a delight. “To all the girls who cry” is strong, I mean I’m sure people will find it sappy and “just another empowerment song” but I really like it.
Is it purely Country? nah, I mean it has some folksy Simon Garfunkel vibes like Trigger pointed out and some deep south spiritual influences, it ain’t no Johnny Russell or Roy Clark.
but who cares? save the “is it country debate” for when Sam Hunt and Roo Arcus or Jon Pardi are around. that debate is pointless to a record like this.
It’s good music, period.
June 22, 2017 @ 12:56 pm
Contender for video of the year?
June 22, 2017 @ 1:59 pm
I’ve been listening to the Secrete Sisters since Trig posted them on his spotify list. I went through 95% of his lists and this is the only thing I’ve come back to over and over again. Great stuff!
June 22, 2017 @ 4:07 pm
”But it also resulted in an inspired, passionate, and engaging effort that is both fetchingly vintage in its textures, while be( ing ) starkly relevant to the experiences of today.”
Ironically and thankfully , the very ”commercial” obstacles that seemingly work against unique acts like the Secret Sisters gaining mainstream exposure often are the freeing factors and catalysts that allow them to explore depths of that uniqueness and creativity ( Civil Wars , Lindi Ortega ) in ways they or their producer (s) may never have , otherwise , imagined . This is simply beautiful ,original , honest and timeless in performance AND arrangement .
Kudos to the Sisters and Brandi Carlile for recognizing , completely unearthing and nurturing that uniqueness .
I truly believe that if many of the females chasing chart success -many unsuccessfully so – in mainstream country ( Jane Kramer , Rae Lynn , Cam )were to embrace their own uniqueness and potential artistic abilities rather than offering themselves up as the next contestant in the mainstream sweepstakes , we would be treated to some awesome efforts ( Kellie Pickler ) and some far more interesting options .
June 22, 2017 @ 4:21 pm
Excellent review Trigger!
June 22, 2017 @ 4:48 pm
Nice review, Trig. I just got back from a family vacation, where this album kept coming back on whenever the girls had control of the Bluetooth. No compalints, though, because I put the bug in their ears. I throw new tunes their way all the time, and these just stuck. You can hear the influence of Brandi Carlile and the twins all over the production, but in the best way. Anybody who’s ever had the pleasure of seeing Brandi in concert will appreciate the same spirit, harmony and musicianship from The Secret Sisters. They are the real deal.
June 22, 2017 @ 8:00 pm
That video was filmed at Butch Anthony’s Museum of Wonder in Seale, Alabama. That’s Butch in the video. Glad to see the Sisters return afte that long delay putting out the second album, a lawsuit with their former manager and a label change. I have often thought that people who like Pokey Lafarge will also like the Sisters’ music.
Although it doesn’t get discussed much, there are a lot of great country artists from Alabama besides Hank Williams and the band Alabama.
June 22, 2017 @ 10:25 pm
Love this album! I believe the secret sisters are about as authentic as it gets and frankly more than just a breath of fresh air. Glad they stuck it out thru the hard times. I also like Cheyenne medders, who I believe helped write “The damage” on this album. He plays in the sisters live band and is a fantastic musician in is own right. Best compliment I can give is this is one act I would gladly pay to see anytime they come around.
June 23, 2017 @ 8:32 am
I sampled some tracks from this last night — love those harmonies, and great songs too! 🙂 I’m especially liking “He’s Fine,” which has been getting some play on “The World Cafe`”; plus, I found the title track and “Carry Me” pretty powerful and poignant.
June 23, 2017 @ 4:16 pm
Excellent — the video as well as the song.
June 25, 2017 @ 9:01 am
“Excellent — the video as well as the song.”
Yes they are. That song alone make it worth buying the whole album.
June 27, 2017 @ 6:36 am
Yeah, it’s really good music to be sure. But come on, we all know that to be played on mainstream (audio and video) they just don’t have that certain something that the modern female artist of today needs. You know that look. The one that says I will look and dress and act like the lap dancers at the gentlemen’s club downtown. Now that’s today’s Hot Country.
August 27, 2017 @ 11:07 am
I heard the song ‘He’s Fine’ from this album for the first time today and noticed that it is strikingly similar to John Prine’s ‘All the Best’ off of his ‘Missing Years’ album. Anybody else?
May 15, 2018 @ 3:43 pm
I agree it does sound similar, in 3 or 4 lines in the verses. But then it goes off in a different direction.