Lee Ann Womack’s latest album is something of a departure, leaning in a bluesier direction than previously. This arose largely out of the lyrical theme of the album, adrressing hard times and lost love.
The opening ‘All The Trouble’ (written by Lee Ann with Adam Wright and Waylon Payne) is a hushed blues with a doomladen air, rising into a wail as she bemoans her life. Lee Ann’s vocals are fabulous, but the guitar work is unnecessarily muddy for my taste. It sets the tone for the album as a whole.
The same writing partnership is responsible for a further trio of songs. The sophisticated 60s pop/R&B ballad ‘Hollywood’ (apart from intrusive backing vocals) is a well written and exquisitely sung song about a troubled marriage which I would have preferred in a more traditional country arrangement. ‘Mama Lost her Smile’ is a closely observed story song reminiscing about the protagonist’s childhood and musing over the lacunae of memory. ‘Sunday’ is a pure blues tune which doesn’t do much for me.
‘Wicked’, written by Lee Ann with Adam Wright, is a dramatic southern gothic story song, about a mother who turns to murder to protect her child. It’s a compelling story, and well sung, but spoiled somewhat by the intrusive production:
You can’t blend in down in San Jacinto
With long blonde hair and an orange El Camino
But two things I never thought I’d need to get by
A 38 special and an alibi
Whatever I get I guess I’ve earned
But I never hurt anyone that didn’t deserve it
Oh, wicked is as wicked does
And if this ain’t wicked
Well, it’s close enough
I thought I was good and maybe I was
But wicked is as wicked does
Somethin’ had to happen
Somethin’ had to be done
And it turns out I’m pretty good with a gun
It doesn’t make it right but it is what it is and
Any mama in the world woulda done what I did
On his own, Adam Wright contributed the charming ‘End Of The End Of The World’, a pretty lilting waltz about getting back together. The title track is a subdued country ballad featuring steel guitar, gently regretting all that has been lost – a broken heart and changing times. It was written by Adam Wright with Jay Knowles.
Dale Dodson and the great Dean Dillon co-wrote ‘Talking Behind Your Back’, a lovely conversational song with the protagonist admitting to her lover’s ex over an awkward lunch that the man still really loves the other woman. A slightly loungy arrangement is okay but doesn’t quite do the song justice. Dodson teamed up with Lee Ann again, together with Dani Flowers, to write ‘Someone Else’s Heartache’, a nicely understated song of apparent resignation to a breakup, with the vulnerable vocal telling a different tale.
Covers of a couple of country classics are thrown in, remade in a soulful style fitting the overall mood of the album. ‘Long Black Veil’ (with no gender twist to the original lyric) is slow and soulful, with a stripped down arrangement and fragile vocal. ‘He Called Me Baby’, a Harlan Howard song once recorded by Patsy Cline, gets an intensely sultry jazzy makeover. An obscure George Jones-penned rockabilly gospel song, ‘Take The Devil Out Of Me’ is retro, vivacious and all too short.
Brent Cobb is a rising singer-songwriter, and Lee Ann is obviously a fan as she has covered two of his songs. ‘Shine On Rainy Day’ (the title track of Cobb’s own recent album) is a dreamy ballad with a messy, dirty sounding production I didn’t like at all set against Lee Ann’s pure vocals. The mid paced ‘Bottom Of The Barrel’ is a bit monotonous.
I’ve never been a big fan of Frank Liddell’s production choices, but I have little doubt that this album is exactly what Lee Ann wanted this time. My own feelings are mixed: it is a beautifully realized piece of work from a general artistic point of view, but I really miss the traditional country Lee Ann Womack.