Becky Warren (from the album Undesirable available as a self-release)
A sad melody opens “Valentine”, Becky Warren introducing a lady left out in the sun and alone with the bourbon, Becky’s words a conversation, a whispered worry between friends about family. Undesirable is the latest release from Becky Warren, the collection of songs stand-alone vignettes, welcoming characters as hopeful honky-tonk heroes (“Hall-Hearted Angel”) and hopeless souls (“Let Me Down Again”). The stories come alive in the retelling of tales from Becky Warren when she surfs a thick bassline to go dancing with “Carmen”, slowly releases a rhythm as dignity disappears down “Dabbs Avenue”, checks into “The Drake Motel” on a bed of Rock’n’Roll, and chooses Country as the vehicle to point fingers in “You’re Always Drunk”.
Subject matter for Undesirable came from the streets of Becky Warren’s homebase in Nashville, Tennessee. Looking to a homeless population, meeting both current and former citizens on the border of society. Entering her research with pre-existing conditions for the men and women she was seeking to meet, Becky Warren soon realized many similarities crossing the wide gap between the have’s and have-not’s. Becky was familiar with The Contributor (Nashville’s street paper) that is sold around the town by homeless and formerly homeless vendors. She went to the source and of the experience, Becky Warren recalls ‘I actually thought there would be a fair amount of overlap with subjects I already knew well from writing about a veteran with PTSD—mental health, substance abuse—but I learned after just a couple interviews that those were complete misconceptions. To make a living selling The Contributor, you have to get up every day, no matter the weather, take a long bus ride, and stand outside for hours making a real connection with your customers, like any good salesperson. You have to be incredibly hardworking, with an unshakable belief in yourself to make it work’. Dialing into a private talk between two voices, Undesirable becomes a fly-on-the-wall in “Sunshine State”, watches white lines fly by on Country Rock’n’Roll with “Highway Lights”, and stands proud claiming “We’re All We Got” (featuring Amy Ray) as Becky Warren uses guitar slashes and a solid backbeat to observe that “Nobody Wants to Rock’n’Roll No More”
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