Since the rebirth of Shelby Lynne's career, with her 2000 revelation release, I Am Shelby Lynne, placing her solidly on the map, pretty much everything she's done since has been noteworthy - for good or not so good. Suit Yourself, Shelby's fourth record into her born-again career, marks the first album that is almost completely unremarkable. By which I don't mean that it's altogether void of artistic merit, there just isn't really anything terribly interesting to report about it or in connection with it.

For example, her follow-up to I Am . . . Love Shelby, was something of a misbegotten attempt to fob Shelby off as a sex-kitten, pop Goddess, with Alanis Morrisette auteur Glen Ballard calling the shots - co-writing and producing. Though the album was overbloated and ill-inspired it had it's share of nice moments and it caused her to go back to the drawing board for her winning, do-it-yourself follow-up Identity Crisis. This record was hailed for it's lean, rootsy sensibilities, not only in production but her approach to her writing. Certainly a big step back in the right direction, but lacking in the jaw-dropping pop-hooks that took the world by surprise on I Am . ..

The reason why I would describe Suit Yourself as unremarkable, is pretty simple. Once again she's doing everything herself, as far as style you'd find this one somewhere between I Am and Identity Crisis. It's got a loose, unaffected feel (a lot of impromptu banter before, during and after these 12 tracks) if nothing else, Shelby seems to be enjoying herself more so than ever before. Sadly I'm not. Though I wouldn't call the record awful, again the word unremarkable seems to be the most apt description. Very few memorable melodies - nothing that's going to get itself stuck in your head. Lyrically she's still on solid ground, but Suit Yourself suffers track after track for want of a winning tune.

The best of the lot are the lovelorn ballad "Old Time's Sake," and the somber and introspective "Where Am I Now." I also enjoy "Johnny Met June" and her cover of Tony Joe White's "A Rainy Night In Georgia" is certainly faithful but somewhat pointless as a result. (I should point out that "Old Time's Sake" is a Tony Joe White cover as well.) Overall, Suit Yourself didn't suit me very well at all - most every track seems merely tossed-off with little inspiration behind anything. Her vocals are in fine form, as is her musicianship, the production is simple and crisp - it sort of reminds me of a lovely, understated bouquet with only one or two roses barely visible above the top of the vase. Worry not, however, Shelby will be back and I'll be eating my words and taking great pleasure in it.