The Kaje (September Issue)
The Kaje is all about the arts - from the upcoming and underground through to the commercial mainstream. Issue 5 takes a look at: Stornoway, Eliza Doolittle, Example, Levi Miller, Tye Matthew Harris, Motion City Sountrack, Dog Is Dead, Tara Mathew, Freemasons, Chris Anthony, The Milk. Our 'Forgotten Gems' this month are: Shelby Lynne "I Am Shelby Lynne", Jim Thompson "The Killer Inside Me" and "Rebecca".
36 The Kaje Shelby Lynne Moorer’s life story could have been lifted straight from a classic country song. Born and raised in Frankville, Alabama, life seemed straight forward and simple till she adult life. Her father, who worked as an English teacher and a juvenile corrections ofﬁcer, played the gui- tar, while her mother was a singer. Music was central to the Moorer family, with her younger sister Alison also entering the music industry. However, life got ﬂipped upside down when Shelby Lynne was just seventeen years old. Her father was a heavy drinker who was fre- quently abusive. The abuse climaxed on a fateful day in 1986 when he shot and killed her mother before turning the gun on himself. Shelby and her sister moved in with relatives an worked hard to put the incident behind them. It was not long before Shelby Lynne turned her attention back to music. Just a year later, she found herself signing a deal with Epic. Her ﬂedgling steps towards country music fame were taken in the safe company of George Jones, with whom she duetted upon the Top 50 hit “If I Could Bottle This Up”. Her debut album “Sunrise” was released in 1989 and secured her place in the hearts of true country fans. “The alt. country sound and the stark honesty were a di- rect result of a dark, vulner- able and desperate place.” However, as her career developed, Shelby turned her back on her traditional and started to experiment with country pop. A brave move for a female artist who had already achieved success in a more traditional ﬁeld. Her chart positions ﬂoundered but she never caved in or walked away from her chosen ﬁeld. She knew critical acclaim would be just around the corner. 1998 saw a move away from her comfort zone, both geographically and musically. Shel- by setup home in Palm Springs, California and started work on her sixth studio album “I Am Shelby Lynne” with producer/songwriter Bill Bottrell. By her own admission the alt. country sound and the stark honesty were a direct re- sult of a dark, vulnerable and desperate place. Instead of sugar coating reality, she faced up to