The Secret Sisters Shine Through In “Put Your Needle Down”

April 23, 2014 - By Trigger  //  Reviews  //  21 Comments

the-secret-sisters-put-your-needle-downProduced 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.

No doubt T Bone Burnett is a towering man of music. There’s no denying his record. But that doesn’t give him the right, or make it right to overhaul, supplant, or bury the God-given sound, style, and talent the artists he works for are born with. People can come to T-Bone’s defense and say that this is the fate these artists chose when they signed up to work with him, but it still doesn’t erase the fact that the role of a producer is supposed to be one of a subordinate. Yes, the producer should guide and mentor, but the best producers in the business do not reshape artists into their own appointed image, they coax the best attributes already alive in artists out into the open to be captured in the recorded context. Inexplicably, with The Secret Sisters and Put Your Needle Down, T Bone Burnett does both.

This album shouldn’t be characterized as The Secret Sisters with T Bone Burnett. It should be couched as The Secret Sisters versus T Bone Burnett. Such an over-produced wall of serrated sounds punishes the ear throughout this album, it’s like trying to view the Eiffel Tower through a plague of locusts: You know there’s something very pretty and breathtaking there, but you have to fight with flailing arms to see, and you’re rarely allowed to relax and bask in its beauty.

T Bone Burnett’s production doesn’t seem to have any sense or respect for the time and place The Secret Sisters’ music naturally evokes; their music seems only the canvas for T Bone to do his worst. After the very first song, I was already tired of the ever-present tambourine on this album, which permeates this record deeper than a sheepdog’s flea dip. The tambourine rattles inside your skull like a ricocheting bullet; steadfast and unrelenting. I couldn’t get the iconic image of Will Ferrell banging on a cowbell from that famous Saturday Night Live skit out of my head, but replaced by a round, jingle-filled adult-sized death rattle. Mucky, incongruent moans of excessively chorus-inflected guitar tones burden this work like the apparitions that keep you in slow motion as you’re being pursued in a nightmare by an apex predator.

Am I being a teeny bit harsh here maybe? Is some deep-seated, unnecessary hatred for all things T Bone shining through and compromising my integrity? Perhaps, but I’ll tell you, despite the monstrosity T Bone constructed though his work on this album, I love Put Your Needle Down. I think this album is great—one captivating song after another. Why? Because no different than how the primitive artists of country had to fight through poor production situations when they were making the very first country albums, or in the 60’s when Music Row producers couldn’t resist adding strings and choruses to every damn song, or in the 80’s when everyone decided the best thing to do was get into the keyboard business and over-modulate the hell out of the drum signals, good songs, and good artists will always shine through. And that’s what The Secret Sisters are, and that’s what The Secret Sisters did on Put Your Needle Down.

the-secret-sistersAnd if we’re going to smear T Bone with such colorful language, we also have to give him credit. Whether it was by accident, on purpose, or despite his best efforts, on Put Your Needle Down, the sheer, untouched genius of The Secret Sisters was unearthed in all of its dazzling beauty, and captured so splendidly despite the production woes, that you could fall under it’s spell even if you had to listen through an A-bomb blast.

Sisters Laura and Lydia Rogers were born and raised in one of the holy lands of American music: Muscle Shoals, Alabama. Fertilized with music from George Jones, Merle Haggard, and Doc Watson, and singing in a church that had no instruments, their Southern harmonies were born with such a purity that can only be found in sister siblings. When The Secret Sisters harmonize, it is the sound a pining heart makes, or the sound emitted when a crack cleaves the soul. Or it’s the salve that mends the heart and soul, depending on the theme of the story their soaring voices carry.

Their first, self-titled album from 2010 was a selection of classic country-style songs and was produced by Dave Cobb–famous for working recently with both Jason Isbell and Sturgill Simpson on their critically-acclaimed albums—with T Bone Burnett breathing down Cobb’s neck as an “executive producer.” The Secret Sisters debut captured them in their most native environment, and in a sincere, country offering. No, my defacing of T Bone’s effort has nothing to do with him taking this album in a non-country direction; it’s that he didn’t respect the natural sound of The Secret Sisters. He could have added some rock or progressive sounds here and there, but the production effort of Put Your Needle Down was a complete whitewashing. And get this: I’m so dug in on this stance, I don’t even care if The Secret Sisters disagree.

But damn if I don’t love virtually everything The Secret Sisters themselves do on this album. Put Your Needle Down differs, and is enhanced from their first album by featuring mostly original songs. The pain and desperation captured in their performances on tracks like “Iuka” and “The Pocket Knife” evoke the plight inherent in the female condition when it’s torn and tested by the villainous priorities of men. The heights reached in the chorus of the 50’s-ish do woppy “Black And Blue” with the sisters harmonies dancing and twirling in such synchronicity, like smoke-trailed acrobats rising eloquently and unresponsive to gravity until it is impossible to discern them apart in formation, is nothing short of awe-inspiring.

One respite from T Bone the Terrible’s reign is on the subdued and simple “Lonely Island”, which if recorded 50 years ago, would be a standard of the country music song book today. It is simply a masterpiece.

And as jarring and inappropriate as the production of this album is, you even get to a point where you’re okay with it, if for no other reasons than refusing to let it ruin what was going on here beneath the layers and layers of over-production, and the fogginess that besets this album—sometimes a symptom of when a project’s mixes have been reworked too many times, especially when they are recorded on 2-inch tape to capture the “warmth” that Audiophiles love to preach about. And yes, I understand what T Bone was trying to do here: he was trying to take something classic and pure, and make it hip and progressive to appeal to a wider audience. On paper, there’s nothing wrong with that. But from a production standpoint, it didn’t work. T Bone was not the right one to try this feat with this particular project.

And why did it take nearly 1 1/2 years for this album to get to our ears? It was recorded in December of 2012, and January of 2013. I think there’s a story there in itself, if only to answer why two young women with the wind behind their backs from their first album had to wait so long for a second release.

But I’ll be damned, I really, really enjoy this album overall. Simply put, The Secret Sisters are the best female duo out there right now, and Put Your Needle Down comes highly recommended….with the obvious production caveat.

1 3/4 of 2 guns up.

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Preview & Purchase Tracks from Put Your Needle Down

21 Comments to “The Secret Sisters Shine Through In “Put Your Needle Down””

  • He ruined the elton john/ leon russell album in the same way he ruined the Jakob Dylan album he produced. He regularly turns up the bass and kick drum while ignoring the importance of every other instrument or voice that contribute to the song. Elton and Leon wrote some great songs, but unfortunately T Bone got his hands on it and made the bass overpower both of their voices.


  • I also liked the first album better.


  • I don’t know…

    I somehow got this disc onto my iPod and into my ears today without seeing T-Bone’s name in the credits. As I usually have an aversion to him as well, that was probably a good thing.

    I was struck by how much more dynamic this album was than the previous Secret Sisters record (granted, it’s been a good long while since I’ve listened to that one). I found that aspect refreshing, and frankly, in contrast to my chief complaint about most of Burnett’s work. Most of his productions come off as stagnant and boring to me… like he tries to make everyone make the same record. I don’t get that here.

    I agree that most of what I’m captivated by comes from the Sisters themselves, but I didn’t find the rest that distracting. Along with the Nikki Lane I got my hands on last week, this is up near the top of my current list for this year so far.

    I’m seeing the Sisters this Sunday night when they open for Nickel Creek. I’ll be interested to see how these songs sound then.


  • Is “Luka” a cover of the Suzanne Vega song from 1987?


    • It’s actually “Iuka” (Eye-you-kah)… a city in Mississippi.


  • First off, excellent review.

    T-Bone has a recent production style that isn’t everyone’s cuppa tea but everyone who works with him is there specifically for that sound. I think it works quite well in many cases. For me the Jakob Dylan, Wallflowers, Roy Orbison, Allison Krause\ Robert Plant ventures were absolute gems. So while agreeing to disagree the one thing T-Bone does extremely is allowing the vocals to really be on top and getting them right for everyone he works with. Christ he even made Robert Plant tolerable to listen to and that alone should’ve earned him sainthood! BTW, I am pretty sure he also produced the first Secret Sisters album too so he’s not a one trick pony.

    I wonder if he can dunk though?


    • I also like what T Bone Burnett has done with many different artists, but he seems unable to cater what he does to artists who reside somewhat outside his niche.

      T Bone “executive produced” The Secret Sisters first album, which can mean any number of things from helping financing it, to offering broad ideas on approach, to having final say so on songs.


      • “but he seems unable to cater what he does to artists who reside somewhat outside his niche.” Oh, I agree. In fact I think you could say unwilling or not interested.


  • Does anyone know where the title “Put Your Needle Down” comes from? What does it mean?


    • It is a line from the song “The Pocket Knife”. The song is about a young woman being forced to marry someone she doesn’t want to. “Mama put your needle down,” is what they say in reference to the making of a wedding dress. It’s one of the best-written songs on the album, really classical-style country old world-style story. I’m guessing it also worked well as a title because it can also mean to put your record player needle down on this record (just a guess).


      • Thanks for this great reply!


        • Pocket Knife is PJ Harvey song from her album Uh Huh Her. I’m a big fan of PJ’s and was an instant fan of the Secret Sisters with the frst album. I think ther interpretation of the song is great!


  • I’ve never heard anything by these girls before but I’m looking forward to giving this record a listen. Wonderfully written review and I will probably be back to read it again after hearing the album! Thanks, Trigger!


  • I loved their last album. The song in that video is so beautiful, I can’t wait to listen to the rest of this new album album.


  • Thanks for the review – I really enjoyed their last album and didn’t know they had released a new one. Another act in a similar vein is the Canadian import the “Wailin’ Jennys” – yes the name is a bit of a pun but don’t let that you put you off.


  • It’s not as if Burnett were forced upon the Rogers sisters without their consent. When you bring in Burnett as a producer you should know exactly what you’re getting. Personally, I like that this album has a different feel than the first. I do not think the backing musicians obscure the sisters’ vocals. Also, anybody that trashes an album that has Marc Ribot on guitar should have their ears checked post-haste.


    • I don’t listen to names, I listen to music.


      • So names only matter to you when you want to trash the producer?

        The guitar work speaks for itself. Knowing the names of musicians doesn’t cheapen the appreciation of the music they make, it just educates you as to what other music you might want to try.


        • No, I’m saying the music matters first. Names can be an interesting tidbit and a way to help you navigate you through your musical experience. But names alone don’t make music better.

          I love Marc Robot. He might be one of my favorite contemporary guitar players outside of country music. All the work he did with Tom Waits was great, and his Y Los Cubanos Postizos album is one of my favorite Latin (or Cuban) albums of all time. And nothing he does here is necessarily offensive, it just doesn’t lend to keeping the focus on these two women, which in my opinion, is where it belongs. But that’s simply my opinion. This is a review, and my take. If you think T Bone did a great job, that’s your opinion, and I appreciate you for sharing it. It doesn’t mean I have to agree. I just happen to like the balance and focus achieved on let’s say First Aid Kit’s latest album compared to this one. But even then, I gave this album a high grade, and I too enjoy it. However that’s not going to keep me from being honest about what I feel is wrong with it.


  • I just saw these two live and they were incredible. They opened for Nickel Creek (which was also incredible), it was a great show!


  • I agree totally with the comments in this review. You have two artists whose strengths are a) their individual singing b) the blend of the two voices c) an increasingly mature and thoughtful approach to song song writing. So what you want is to hear the singing, not the backing instruments.

    Who cares whether Marc Ribot is playing guitar, when the guitar isn’t really needed in the first place? When the girls came over to the UK a couple of years ago they accompanied themselves on one acoustic guitar, and it was wonderful! (And of course that approach worked OK for the Civil Wars…). The producer has tried to turn this into a rock album but they are not rock singers. Perhaps he’s confused and thinks he’s still working with Robert Plant…


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