Restless
Sara Evans’s 2000 effort, the platinum-sellingBorn to Fly, put her in the front ranks of the most promising of modern country singer-songwriters. As a woman with a strong traditional background, she found a way to marry contemporary sounds and sensibilities with her bedrock country and bluegrass history, and, with the help of producer Paul Worley, delivered a complete, believable, and very fetching record. ButRestlesssounds as if she and Worley just went in and cut a passel of songs. A lot of them carry a message of hope, of making "something magic out of something frightening," as she sings in "Rockin' Horse," one of five tracks she co-wrote. But most of them just sound as if she had getting on radio more in mind than anything else.  It’s hard to tell if the album doesn't know what it wants to be, or if it’s Evans who’s confused. Worley over-produced the majority of it with unnecessary layers and busy arrangements, and the repertoire ranges all over the place, from an awful attempt at swaggering R&B; ("Big Cry") to the hay-bale-and-pickup milieu of "Suds in the Bucket." While the languid and affecting "Backseat of a Greyhound Bus" sticks in the memory and the sensual "Otis Redding" gets the hormones charged, too many of the songs just roll by. Evans remains a wonder of a singer, however, whether she’s projecting her clearer pop voice or calling on the nasality of her Missouri barn-dance-and-bluegrass training, something in too short supply on this uneven effort.--Alanna Nash