World Without Tears

Artist	Lucinda Williams
Format	CD
Genre	Folk
Label Name	Lost Highway
Producer	Lucinda Williams, Mark Howard
Release Date	2003 04 08
Song List	1: Fruits of My Labor (4:49) 2: Righteously (4:41) 3: Ventura (4:43) 4: Real Live Bleeding Fingers and Broken Guitar Strings (4:43) 5: Over Time (3:58) 6: Those Three Days (4:59) 7: Atonement (5:50) 8: Sweet Side (3:37) 9: Minneapolis (4:08) 10: People Talkin' (5:11) 11: American Dream (4:38) 12: World Without Tears (4:17) 13: Words Fell (4:14)
Style.Categories	Americana, Adult Alternative Pop/Rock, Alternative Country-Rock, Folk-Rock, Roots Rock, Folk-Pop, Urban Folk

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While many considered Car Wheels on a Gravel Road and Essence as definitive statements of arrival for Lucinda Williams as a pop star, she "arrived" creatively with her self-titled album in 1984 and opened up a further world of possibilities with Sweet Old World. The latter two records merely cemented a reputation that was well-deserved from the outset, though they admittedly confused some of her earliest fans. World Without Tears is the most immediate, unpolished album she's done since Sweet Old World. In addition, it is simply the bravest, most emotionally wrenching record she's ever issued. It offers unflinching honesty regarding the paradoxes inherent in love as both a necessary force for fulfillment and a destructive one when embraced unconsciously. Fans of her more polished, emotionally yearning material may have a hard time here because there isn't one track -- of 13 -- that isn't right from the gut, ripped open, bleeding, and stripped of metaphors and literary allusions; they're all cut with the fineness of a stiletto slicing through white bone into the heart's blood. World Without Tears is, among other things, predominantly about co-dependent, screwed-up love. It's about relationships that begin seemingly innocently and well-intentioned and become overwhelmingly powerful emotionally and transcendent sexually, until the moment where a fissure happens, baggage gets dumped in the space between lovers, and they turn in on themselves, becoming twisted and destructive -- where souls get scorched and bodies feel the addictive, obsessive need to be touched by a now absent other. The whole experience burns to ashes; it becomes a series of tattoos disguised as scars. The experience is lived through with shattering pain and bewilderment until wrinkled wisdom emerges on the other side. Most of Williams' albums have one song that deals with this theme, but with the exception of a couple of songs, here they all do.
Musically, this is the hardest-rocking record she's ever released, though almost half the songs are ballads. Her road band -- on record with her for the first time -- cut this one live from the studio floor adding keyboards and assorted sonic textures later. The energy here just crackles. Sure, there's gorgeous country and folk music here. "Ventura," with its lilting verse and lap steel whining in the background, is a paean to be swallowed up in the ocean of love's embrace. In fact, it's downright prosaic until she gets to the last verse: "Stand in the shower to clean this dirty mess/Give me back my power and drown this unholiness/Lean over the toilet bowl and throw up my confession/Cleanse my soul of this hidden obsession." The melodic frame is still moving, but the tune reverses itself: It's no longer a broken-hearted ballad, but a statement of purpose and survival. "Fruits of My Labor" is a straight-ahead country song. Williams shimmers with her lyric, her want pouring from her mouth like raw dripping honey. Her words are a poetry of want: "I traced your scent through the gloom/Till I found these purple flowers/I was spent, I was soon smelling you for hours...I've been trying to enjoy all the fruits of my labor/I've been cryin' for you boy, but truth is my savior." One can hear the grain of Loretta Lynn's voice, with an intent so pure and unadorned. But the muck and mire of "Righteously," with its open six-string squall, is pure rock. It's an exhortation to a lover that he need not prove his manhood by being aloof, but to "be the man you ought to tenderly/Stand up for me." Doug Pettibone's overdriven, crunching guitar solo quotes both Duane Allman and Jimi Hendrix near the end of the tune.