Jenny Lewis puts out folksy solo album

‘ ‘ ‘ Jenny Lewis has come a long way since her appearances in ‘Troop Beverly Hills’ and ‘The… ‘ ‘ ‘ Jenny Lewis has come a long way since her appearances in ‘Troop Beverly Hills’ and ‘The Wizard.’ ‘ ‘ ‘ Since her days as a child actress, Lewis has transcended her theatrical origins and become a renowned musician, helming the popular indie rock band Rilo Kiley. ‘ ‘ ‘ Acid Tongue, her second solo effort, harkens back to the inception of this change in Lewis’ life. Those who know Lewis exclusively through Rilo Kiley’s more alt-rock hits ‘- such as ‘Portions for Foxes,’ which appeared on the ever-popular ‘Grey’s Anatomy’ ‘- will be slightly shocked by Acid Tongue, as it is far more a folksy alt-country album than anything heard on primetime television. ‘ ‘ ‘ That’s not to say that Acid Tongue is anything short of entrancing. From the opening strains of the album and the morbid but poppy ‘Black Sand,’ to the piano-laden finisher ‘Sing a Song,’ Lewis crafts an engaging, fun musical experience. ‘ ‘ ‘ However, the shining moments of Acid Tongue are the ones that really define the album. The songs where Lewis allows her insecurities to fall to the wayside and completely cuts herself loose are what make the album great. ‘ ‘ ‘ The greatest among these, without a doubt, is all eight-and-a-half minutes of ‘The Next Messiah,’ a track Lewis wrote about her absent father ‘mdash; who, awkwardly enough, plays backup harmonica on the album. ‘ ‘ ‘ ‘The Next Messiah’ is dynamic, alternating between lilting, instrumentally devoid refrains and upbeat guitar-charged choruses. The tale woven into the medley enhances the song’s effect. If the rest of the album were complete trash, it would still be worth a listen for this song alone. ‘ ‘ ‘ Luckily, the rest of the album holds its own. The strangely oedipal ‘Jack Killed Mom’ blazes with unusual energy for Lewis, chanting the song title angrily for a good deal of the song as the instrumentals build beautifully. ‘ ‘ ‘ Other standouts include the endearingly romantic ‘San Fernando’ and the wonderfully restrained ballad ‘Tryin’ My Best to Love You.’ ‘ ‘ ‘ If there is a major flaw in Lewis’ effort, it is her obsession with including contributions from fellow musicians on the album. ‘ ‘ ‘ A dizzying number of artists ‘mdash; from indie staples to none other than Elvis Costello ‘mdash; make guest appearances on Acid Tongue. Some of these make sense, such as Zooey Deschanel and M. Ward, of She ‘amp; Him, on ‘Tryin’ My Best to Love You’ and ‘Pretty Bird.’ But many of them come off as entirely superfluous, clashing violently with Lewis’ voice and presence. Costello in particular was a poor choice. The verse he sings in ‘Carpetbaggers,’ an otherwise fine song, is the single most jarring and unpleasant part of the whole album. ‘ ‘ ‘ ‘ ‘ ‘ On the other hand, when a chorus of other musicians (including Chris Robinson of the Black Crowes) begins singing on the album’s title track, it creates an amazing effect, bringing Lewis to the forefront rather than suppressing her as Costello does. ‘ ‘ ‘ Fortunately, most of the inclusions are subtle enough to not detract from Lewis’s sublime craft, leaving Acid Tongue with the essential quality of evoking another listen.