Much has been made lately about the lack of solo female artists charting top 30 singles. An alarm was sounded bringing attention to just how few genuine female superstars are working in the genre today. But instead of focusing on the lack of female artists charting big singles, we should be talking about and putting the spotlight on those female artists (solo or not) who are making music that matters whether they receive airplay or are left in the dust.
One of those artists commanding attention is Miranda Lambert’s new trio Pistol Annies. Their debut album Hell on Heels is without a doubt one of the best country albums of 2011 because the attention to detail in the lyrical content rivals anything being released on a major label in Nashville today. Throughout the ten-song project, intricate phrases abound elevating simple stories into pieces of art. Hell On Heels is a listening experience like none other you’ll have all year.
They debuted with the title track earlier this year, an introduction as good as any. I have a little trouble with its three artist structure, but the verse sung solo by Ashley Monroe always bring forth a smile. She’s just delightful and one of the best-kept secrets in Nashville today. But the rest of the album is as good but much better than that song.
Not since Mary Chapin Carpenter released “House of Cards” as the third single from Stones in the Road in 1995, has anyone spoken so honestly and introspectively about life behind closed doors. They’ve stood up and given voice to the women who can’t take it anymore from the men who haven’t got a clue. No song exemplifies this better than “Housewives Prayer,” which employs a simple yet dark lyric to convey the pain of quiet desperation. One of the best songs of the year, it’s a cautionary tale from a woman fed up with the status of her life – she’s been thinking about going off the deep end because she’s “burning up with all the words she ain’t been saying,” and at her boiling point, she washes pills down with beer and contemplates setting her house on fire. Inspired by “Holler Annie” Angaleena Presley’s divorce, “Prayer” proves the point that you don’t need much to pack a wallop. Presley’s lead vocal acts as a portal for the audience to feel her pain and the moody musical accompaniment, complete with haunting steel guitar front and center, adds another dimension to her sadness.
“Lemon Drop,” another down on your life song, uses a clever metaphor to sell its central message – you have to endure the bad to get to the good. Using examples of curtains purchased on credit and owning a TV that will take ten years to pay off, it serves as a reminder to anyone going through tough times to remember “they’ll be better days ahead.” The light mix of acoustic guitars and gentle procession coupled with the blending of their voices, gives the song a rather sweet quality, which contrasts with the placement of a lemon in the title, but suggests the optimism the protagonist is holding onto. You come away feeling her situation isn’t a reflection on her because no matter how dire the circumstances may be, she isn’t letting them define her. When listening to the song, I had to actually stop and think what “life is like a lemon drop” meant. When was the last time that happened? It’s so rewarding not to be able to take lyrics at face value, where you already know what the song’s about because the lyrics are so predictable. This is one of those times I actually like having to work at fully understanding my country music.
“Beige,” another track that made me think, is by and large my favorite song on the whole album. The movie-like nature of the story won me over first, but it was the presentation of that story that blew me away. The song finds a woman on her wedding day, with child, “marrying some boy” in a wrinkled shirt. She’s praying no one will notice her weight gain since a “bride shouldn’t be
4 months and 3 weeks.” She’s wearing beige because “everyone in this place knows I didn’t wait.” The situation is unfortunate and the song contains some of my favorite lines on the whole album, from her being daddy’s pride and joy to no one “having a ball at the reception hall.”
“Hippie Annie” Monroe takes the lead and displays how much she’s grown as a vocalist since Satisfied, her solo debut from 2006. But the song suffers only slightly from a lack of polish. There are a few times where Monroe could’ve enunciated more clearly. But other than that, the track dabbles with perfection. The drumbeat and steel guitar add a layer to the song conveying the sadness felt by everyone on what should’ve been a happy occasion.
But with all the heaviness of the ballads, the Annies add a few lighter moments to lesson the load. “Bad Example” is a pure country shuffle that recalls something from the 1920s, “Takin’ Pills” recalls the depression-era production T-Bone Burnett used on his Robert Plant and Alison Krauss collaboration Raising Sand, and “Family Feud” is pure Americana bliss. But being lighter doesn’t cancel out their substantive qualities. “Feud” takes on a serious topic that often tears families apart, while “Pills” uses drugs, alcohol, and cigarettes as coping mechanisms. But for all their seriousness, they are the best examples of dark humor I’ve heard in country songs since I can remember.
Another light moment, “The Hunter’s Wife,” reminds me a lot of Rodney Crowell’s “She’s Crazy For Leavin’” in terms of production. I love the wordiness of the chorus and the fact that this man doesn’t even realize he’s chosen hunting (and fishing) over his wife. The way she complains about the meals she’s sick of eating in the second verse is so instantly relatable. It’s hard to find a woman who isn’t tired of the redundant behaviors of their husband or boyfriend. If this were a Brad Paisley song, she’d know exactly what to do – give him an ultimatum and if she doesn’t care for his answer, get the heck out. Overall, it’s one of the coolest songs on the whole album and another highlight among highlights.
“Lone Star Annie” Lambert takes the lead on both “Trailer for Rent” and “Boys From The South.” Both represent classic Lambert, on “Rent” she’s renting out the trailer she shared with her now ex and it bares the marks of where she grew tired of his abusive behavior. I only wish “Rent” hadn’t gone into expletive territory. It didn’t need a swear word to emphasize anything, but it is indicative of how most people talk and adds an authenticity to the song in that respect. I also like the easygoing nature of the production track.
“Boys From The South” on the other hand, is the lone oddball out on the project. It’s so straightforward and has so much commercial potential; it would’ve been better on Lambert’s upcoming Four The Record or even Revolution. But if any song on this album has the ability to break through at radio and give Hell On Heels an extra push, it’s this one. These are the types of songs Lambert does exceptionally well and she excels on that here.
In the end, Hell on Heels is everything a country album should be: original in its angles on well-worn themes and a challenge to the listener to think and pay attention to what’s being said. This brand of country isn’t going to appeal to everyone, but there’s an audience out there starving for this kind of music. I know because I’m a vocal member of that crowd, retaliating against the usual fare coming out of mainstream Nashville. Thank goodness for artists like the Pistol Annies who transcend trend and make music that will matter as much thirty years from now as it does today.