My Kind of Country

Country music from a fan's point of view since 2008

Daily Archives: November 19, 2018

Classic Rewind: Crystal Gayle – ‘It’s Like We Never Said Goodbye’

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Album Review: Pistol Annies — ‘Interstate Gospel’

The most pleasant surprise for me this decade has been the emergence of Pistol Annies as a creative force in modern country music. My admiration for the artistic sensibilities of Miranda Lambert has been well-documented, but I’ve come to acquire a deeper appreciation for Ashley Monroe, and a new affection for Angaleena Presley.

The trio got the ball rolling on their third album, Interstate Gospel, at the beginning of this year when Lambert sent Monroe and Presley a verse and chorus to a song she was working on. Within 20 minutes they had each sent back a verse. That song, “When I Was His Wife,” is a blistering waltz from the heightened perspective of a woman post-divorce:

He’d never cheat, he’d never lie

He’ll love me forever ’til the day that we die

He’ll never take me for granted I

Said that too when I was his wife

 

God, he looks handsome in the bright morning light

His smile can light up your world for a while

His love is enough to keep me satisfied

I said that too when I was his wife

 

He’s funny as hell, hot as July

He’s strong when I’m weak, sweet when I cry

I’ll always be the apple of his eye

I said that too when I was his wife

The keen sense of awareness they tapped into on “When I Was His Wife” permeates throughout the record. Presley takes the lead on “This Too Shall Pass,” a not-so-delicate ballad about being trapped in a dead-end relationship. The true cost of staying in that relationship, the subject of the gorgeous “Leavers Lullaby,” finds Monroe at a moment of clarity:

When did I get this crazy?

When did I get so mean?

Living wild and exhausted

Paying what it cost to feel so free

 

Run along, little daddy, take the dog and the house and dang me

It ain’t worth the time that it’s gonna take to change me

It’s as deep as the holler and clear as the water that stains me

I want whatever it is I ain’t gettin’ from you

 

I know you need me to need you

I tried to teach you to be tough

There’d be no such thing as leaving

If just loving somebody was enough

“Best Years of My Life,” the purest moment on the record and one of the strongest mainstream country songs released this year, happens when you realize just what it takes to get you through the day:

I picked a good day for a recreational Percocet

I’ve got an itch to just get high

I’m in the middle of the worst of it

These are the best years of my life

 

I’ve got the hankering for intellectual emptiness

I’ve got the need to ease my mind

I’ll watch some re-runs on the TV set

These are the best years of my life

 

I’m gonna mix a drink and try to drown this worthlessness

Call mom and tell her I’m alright

Well he don’t love me but he ain’t gone yet

These are the best years of my life

“Masterpiece” finds a couple on the brink, questioning the possibility of undoing what to the rest of the world seems so perfect. The song, which Lambert said needed to be written, celebrates the darker side of being “that couple:”

Baby, we were just a masterpiece

Up there on the wall for all to see

We were body and soul, we were talked about

Once you’ve been framed you can’t get out

 

Who’s brave enough to take it down?

Who’s fool enough to lose the crown?

We’re just another thing they’ll all forget about

They’ll be standing around laughin’

Like nothing ever happened

All these moments of clarity reach their apex on “Got My Name Changed Back,” which has never made reclaiming your personal identity sound more fun. It has some clever wordplay, a nice dose of dobro, and a melody that’s catchy as hell. “Milkman” is melodically softer than its lyric, which finds a daughter putting her mother on blast for judging her personal choices:

If mama would’ve loved the milkman

Maybe she wouldn’t judge me

If she’d’ve had a ride in his white van

Up and down Baker Street

On a Monday with her hair down and hand about to slide between his knees

But mama never did love nothin’ but daddy and me

 

If mama would’ve smoked her a cigarette

Maybe she wouldn’t judge me

If she’d’ve done more than the dishes

Untied them apron strings

She’d be sittin’ in her sundress on the back porch mixing whiskey and sweet tea

Mama never did think twice about feelin’ this free

 

Mama never liked to pick wildflowers

Drinkin’ on a Sunday was a sin

She might’ve made it past the water tower

If she’d’ve loved the milkman

“Sugar Daddy” is about reclaiming your power by knowing and getting exactly what you want. “Stop Drop and Roll One” is unapologetically defiant, with the hard edge of pure country rock. “Cheyenne” finds Lambert enviously singing about a very flawed woman:

She lives for the nightlife and trashy tattoos

She loves country music and broken-in boots

Nobody can blame her for the chip on her shoulder

She finds plenty of pool-table cowboys to hold her

 

Her daddy says she was destined for sadness

And her grandmama Lily’s to blame for the madness

The only forever she knew ended tragic

So she’ll fall the night while the neon light flashes

 

If I could trade love like Cheyenne

If I could be just as cold as the beer in her hand

If I could move men and mountains with a wink and a grin

Oh, if I could treat love like Cheyenne

Another of the album’s shining moments, the title track, celebrates all those signs we see along the highways and backroads, not billboards, but those ones on the lawns of churches and the like that often display inspirational messages. “Interstate Gospel” isn’t just a great title for a classic country shuffle, but it lyrically ties the whole record together:

These church signs, they light up these roads that I roam

They’re leading me closer, they’re calling me home

The further I get, the further I go

This interstate gospel is saving my soul

This interstate gospel is saving my soul

Interstate Gospel, as far as mainstream country albums go, saved my soul, too. “Got My Named Changed Back” is lyrically thin with all the repetition and the “la-la-la” and “oh-oh-ohs” throughout are disconcerting. But overall this is a great album and well worth the five-year wait.

Grade: A