My Kind of Country

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

Tag Archives: Heather Little

Album Review: Erin Enderlin – ‘Whiskeytown Crier’

“Ain’t It Just Like A Cowboy,” is a “stop me if you’ve heard this one” tale of a woman jilted by a man who repeatedly abandons her. But Erin Enderlin and her co-writer Heather Little turn the concept on its head. The song isn’t about rodeos, but rather another more universal pain:

He’s holdin’ her like he held me

God I should know better than to cry

The steel-adorned ballad serves as the lead single from Whiskeytown Crier, which finds Enderlin teaming with Jamey Johnson and Jim “Moose” Brown on a collection of songs culled from the female perspective, of the women who inhabit a fictional residential area known as Whiskeytown. Enderlin imagines the album as a newspaper, with the songs serving as the articles.

Whiskeytown Crier consists of many songs where the woman is in various states of dealing with the man who’s left her. He’s a cowboy one minute, the next he’s the self-absorbed litterer at the heart of “Jesse Joe’s Cigarettes,” which she smokes since she has nothing better to do. The feelings are so complex that to deal with them requires a “Whole Nuther Bottle of Wine.” “Till It’s Gone” finds her maxing out on all these pleasures, accented with a stunning twenty-nine-second steel guitar solo.

Her solely-penned “Broken” is a stunner of self-awareness that acts as a prequel of sorts, detailing the woman’s marriage at eighteen to the man who saw in her what she saw in him:

A broken limb

From a crooked family tree

“The Coldest In Town” is a spellbinding duet with Randy Houser that details a disintegrating marriage from both perspectives. It could be the woman from “Broken” when her life falls apart, but it also works as a standalone composition.

The album also contains two muscular southern gothic murder ballads. “Caroline” is the sadistic tale of a teenage pregnancy and a father’s revenge on the man who made her a mother. “Baby Sister” shows blood is thicker than love, with a shocked sibling proclaiming:

I knew you were a pistol

But I never knew you owned a gun

“The Blues Are Alive and Well” purposely evokes Merle Haggard. “Home Sweet Home” finds a woman enjoying the pleasures of the United States – a game at Wrigley Field, Broadway Shows – but finding comfort in her southern roots, where she prefers to live. “His Memory Walks on Water” is a tale of innocence – a little girl remembering her dad, a degenerate, in death as the man he never was on Earth. To his youngest daughter, though, he was everything.

Enderlin also included two covers to round out the set. She turns in a competent reading of “Till I Can Make It On My Own,” which is very good but could’ve been more subtle. Her take on Gram Parsons’ “Hickory Wind” is excellent.

Whiskeytown Crier is a very fine album that could’ve stood less intrusive production on occasion, namely eliminating the intrusive electric guitar that permeates “Jesse Joe’s Cigarettes.” But the music shines through, putting the focus on Enderlin’s apt storytelling, right where it should be.

Grade: A

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Album Review – Miranda Lambert – ‘Platinum’

MirandaLambertPlatinumMidway through Miranda Lambert’s new album Platinum comes a jarring exception to the rule as daring as the twin fiddles that opened Lee Ann Womack’s There’s More Where That Came From nine years ago. The one-two punch of a Tom T and Dixie Hall composition coupled with a glorious arrangement by The Time Jumpers has yielding “All That’s Left,” a rare nugget of traditional western swing with Lambert channeling high lonesome Patty Loveless. Besides producing one of the years’ standout recorded moments, “All That’s Left” is a crucial nod to our genre’s heritage, and the fulfillment of the promise Lambert showed while competing on Nashville Star.

Suffice it to say, there’s nothing else on Platinum that equals the brilliance of “All That’s Left,” since Lambert never turns that traditional or naturally twangy again. Instead she opts for a fifteen-slot smorgasbord, mixing country, pop, and rock in an effort to appeal to anyone who may find his or her way to the new music. In lesser hands the record would be an uneven mess, but Lambert is such an expert at crafting albums she can easily pair western swing and arena rock and have it all fit together as smaller parts of a cohesive whole.

The main theme threading through Platinum is one of getting older, whether for purposes of nostalgia, or literally aging. She continues the nostalgia trip she began with fantastic lead single “Automatic” on “Another Sunday In The South” as she recruits Jessi Alexander and fellow Pistol Annie Ashley Monroe to reminisce about the good ‘ol days of 90s country music, among southern signifiers like lazy afternoons and times spent on the front porch. The only worthwhile name check song in recent memory, “Another Sunday” cleverly weaves Restless Heart, Trace Adkins, Pam Tillis, Clint Black, Nitty Gritty Dirt Band and song namesake Shenandoah through the lyrics without pandering or sounding cutesy. I only wish she had referenced Diamond Rio and had producer Frank Liddell pepper the track with more of a 90s throwback production, which would’ve fit slightly better than the soft rockish vibe the track was given.

Lambert actually does recapture the Patty Loveless-like twang on “Old Shit,” Brent Cobb and Neil Mason’s love letter to the appealing nature of antiques. The framing technique of using the grandfather and granddaughter relationship coupled with the organic harmonica laced organic arrangement is charming, and while I usually don’t advocate for swearing in country songs, it actually works in this case and seems more appropriate than any of the cleaner words they could’ve used instead.

The aging side of getting older, which Lambert and company began tackling with “Being Pretty Ain’t Pretty” on Annie Up last year, is far more prevalent a force on Platinum. As has become customary for Lambert, she wrote thumping rocker “Bathroom Sink” solo. The lyric is scathing, detailing scary self-loathing that builds in intensity along with the electric guitars. Lambert’s phrasing is annoying, though; punctuating the rimes so much they begin to sound rudimentary. While true, “Gravity’s a Bitch,” which Lambert co-wrote with Scotty Wray, just doesn’t feel necessary to me. I think being outside the track’s demographic target aids in my assessment, but I do enjoy the decidedly country meets bluesy arrangement.

When the press release for the album said the title track was ‘Taylor Swift pop’ I was admittedly worried, no matter how many times I got down with the dubstep of “I Knew You Were Trouble” or the bubblegum of “22.” Since Max Martin isn’t anywhere near this album, “Platinum” is more “Red” than anything else, and the infamous ‘what doesn’t kill you only makes you blonder’ lyric is catchy as hell. Similarly themed and produced “Girls” is just as good, and like “Gravity’s a Bitch,” it’ll appeal quite nicely to the fairer sex.

The rest of Platinum truly defines the smorgasbord aspects of the album, with some conventional and extremely experimental tracks. Lambert co-wrote “Hard Staying Sober” with Natalie Hemby and Luke Laird and it ranks among her finest moments, with the decidedly country production and fabulously honest lyric about a woman who’s no good when her man isn’t present. “Holding On To You,” the closet Lambert comes to crooning a love song, is sonically reminiscent of Vince Gill’s 90s sound but with touches that makes it all her own. While good it’s a little too bland, as is “Babies Making Babies,” which boats a strong opening verse but eventually comes off less clever than it should’ve and not surprising enough for me.

Ever since Revolution, production on Lambert’s albums has to be taken with a grain of salt, which is unfortunately still the case here. I’m betting, more than anything since Brandy Clark and Lambert co-wrote it together with Heather Little, that “Too Rings Shy” has a strong lyric underneath the unlistenable production that found Lambert asking her production team to go out and lyrically record circus noises. It’s a shame they couldn’t make this work, since they pulled it off with Randy Scruggs reading the Oklahoma Farm Report in the background of “Easy Living” on Four The Record. There’s just no excuse why the track had to be mixed this intrusively.

Polarizing more than anything else is Lambert’s cover of Audra Mae’s “Little Red Wagon,” which I only understood after listening to Mae’s original version. Given that it’s a duet with Little Big Town, I know most everyone expected more from “Smokin’ and Drinkin,’ and I understand why (the approach isn’t traditional), but I really like the lyric and production, making the overall vibe work really well for me. The same is true about “Something Bad,” which isn’t a great song, but works because of the beat, and interplay between Lambert and Carrie Underwood. The two, even on a marginalized number like this one by Chris DeStefano, Brett James, and Priscilla Renea, sound extremely good together.

Nicolle Galyon and Jimmy Robbins teamed up with Hemby to write the album’s most important track, a love letter Lambert sings to Priscilla Presley. While the concept is questionable on paper, the results are a revelation and give Lambert a chance to directly address what she’s been going through since her husband’s career skyrocketed on The Voice. At a time when most artists of Lambert’s caliber are shying away from singing what they’re going through, Lambert is attacking her rise in celebrity head on with a clever lyric, interesting beat, and an all around engaging execution that makes “Priscilla” this album’s “Mama’s Broken Heart.”

Even without the added punch of co-writes with her fellow Nashville Star contestant Travis Howard or the inclusion of a bunch of artistic covers from the pens of Gillan Welch, Allison Moorer, Carline Carter, and others – Platinum ranks high in Lambert’s catalog. She’s gotten more introspective as she’s aged but instead of coasting on past success or suppressing her voice in favor of fitting in or pleasing people, she remains as sharp as ever tackling topics her closest contemporaries wouldn’t even touch. I didn’t care for this project on first listen, but now that I completely understand where she’s coming from, I’m fully on board. All that’s left is my desire she go even more country in her sound, but Platinum wouldn’t be a Miranda Lambert record without the added touch of Rock & Roll.

Grade: A