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**1/2 Laurie Jones

AFTER THE CRASH

(Reversing Records)

Hailing from far-flung Lubec, Maine, singer/songwriter Laurie Jones has overcome relative geographic isolation and a dismal CD debut (1996’s Healing Place) to nonetheless establish herself as a name to listen for in New England’s folk-rock circles. With her aptly titled sophomore effort, After the Crash, Jones — with chops, nerve, and humor intact — leaves behind the safety and gloss that marred Healing Place to showcase her more adventurous, edgier, and in all, more artistically compelling side.

Picked up by several regional radio stations, including such venerable folk outlets as WERU in Blue Hill and Maine Public Radio, After the Crash offers plenty of catchy, mid-tempo melodies and even a couple low-burn rockers. Lyrically consistent and emotional without stooping to histrionics, Jones’s vocals have drawn press comparisons to Bonnie Raitt and Chrissie Hynde, but I hear more realistic parallel with less iconic, but certainly accomplished regional artists like Deb Pasternak, Jules Verdone, and perhaps even the solo work of Indigo Girl Amy Ray. Stand-out cuts like the quiet, reflective “Hey Now,” the power-pop affected “Dance on the Water,” and the autobiographic and subtly anthemic “Nashville” illustrate Jones’s range. The CD’s finest track, a slow building, country-folk blessing titled “Wide Awake” pulls together all of these influences nicely.

Jones and co-producer/drummer Steve Peer brought in backing talent to fill out the arrangements, including pianist Paul Sullivan and violinist Miriam Brody of the Beatroots, Walter Howland, bass player in Jones’s live band, and Blue Hill high school students Luke Abrahamson on trumpet, and Hayden Cummings on tenor sax. Jones’ daughters, Reegan (12) and Torin (6), even contributed some backing vocals.

After the Crash hides a bonus track, but one I wish I hadn’t bothered to listen for. An acoustic version of Nirvana’s Smells Like Teen Spirit, no matter who records it, is almost unconscionably hackneyed, and in any case adds nothing to an otherwise solid album.

— Pete Hodgin