The title might have better applied in her earlier years as this former Nashville singer extended herself and touched points closer to Dusty in Memphis, 60s girl groups and much else besides. It made for slightly disconcerting - if always interesting - listening.
Someof that still applies here: the awful 10 Rocks is an upbeat boogie-woogie gospel group blues followed by the introspect, doubt-filled, acoustic guitar and string- coloured If I Were Smart. But there is a more consistent voice coming through in the second phase of her long career, which began when she picked up a Grammy as best new artist two years ago.
Now producing herself - smart move after Bill Bottrell's kitchen sink-plus production on I Am Shelby Lynne, then Alanis' producer Glen Ballard for Love Shelby - Lynne sounds more confident, although her writing remains highly personal and lyrically is filled with self-doubt.
Lynne could never stake a claim to great originality, and that still applies: the instant trad.country classic Lonesome is imbued with the spirit of Roy Orbison/Patsy Cline (and kd laing has a hit here should she care to tune in), and I Don't Think So owes a huge melodic debt to MacArthur Park. The organ-underpinned Evil Man takes a slice of Muddy Waters as its starting point, and Buttons and Beaus in tougher hands would be closer to its Bessie Smith origins. I Will Stay is an emotionally cool piece of nightclub folk-noir.
But throughout she messes up the business with rough-edged rockist guitars (Gotta Be Better), sings with confidence, and sometimes - add the gentle Telephone, and One with the Sun which is a hats-off to Willie Nelson, to the short list - writes a crafted pop-framed ballad.
Lynne has always had great appeal, but her albums remain worryingly inconsistent - if always listenable.
