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Sparkle Plenty is the debut solo album from sunny California's
singer/songwriter/guitarist Ashley Lennon Thomas. Produced
by her father John Thomas, Sparkle Plenty treads the
borderline of alt-country, fusing elements of acoustic-rock, doo-wop,
and folk-pop. Her bluesy vocal intonations are reminiscent of Hope
Partlow and her folksy leanings are reflective of Sheryl Crow.
The melodies are well honed with sunny-pop tapestries, soft rock cascades
and soul-jazz confections.
The doo-wop harmonies of "Hard Headed Woman" have retro-pop
hooks fringed by modern-pop inflections. The jazz styled horns of
"Like I Can" pepper the melody with smiley faces, and the
island sway of "Sneaky Pie" are sword with guitar rock sand
dunes and curvaceous vocal moves. The alt-country chambers of "Wait
In The Water" show an upbeat pulse relatable to Allison Moorer
while the slow coasting strips of "Only Time" are emblematic
of Shelby Lynne's molasses-rolled voicing. The soul-jazz catacombs
of "Black Coffee" are easy on the ears as the piano riffs
penetrate the senses as swiftly as a fruity cocktail on a hot summer
day.
Thomas' songs have a girl-next-door charm with an attractive folksy
lilt. The melodic grazing of the guitar parts on "Hit The Road"
form balmy arches while Thomas' vocals curl around them with a seductive
lure. The pure country zest of "Highway Song" has a cheerful
shake while "For Sure" is more bluesy and sullen in mood.
The jubilant phrasings and whisking rotations of "Honey Wild"
and "Buick City Complex" are a recipe for having fun and
feeling free with the rugged vocal textures of Moon Calhoun
chiming in on "Buick City Complex" like a voice resonating
through a bullhorn. Thomas' pixie-like vocal timbres on "Blue"
are like country music's Julie Roberts, which coincide with
the mellow tempo, while the rhythmic beats of "Bones" have
a porch-folk twitter.
Ashley Lennon Thomas touches many bases on her debut album Sparkle
Plenty; from pop and folk to soul-jazz and doo-wop. She uses every
brand of music accessible to her and adds a bonus track to underscore
her affection for '50s doo-wop. In every song, she sounds like she
is shouting from the rooftops of melodic-pop and making her own watermark
on its pages.
-Susan Frances
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Ashley
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