My Kind of Country

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

Tag Archives: Lee Ann Womack

Classic Rewind: Jason Sellers – ‘A Matter Of Time’

Lee Ann Womack’s first husband, a successful sonmgwriter, had a shortlived singing career himself. This was his biggest hit, peaking at #33 in 1999:

Classic Rewind: Lee Ann Womack – ‘I Think I Know’

Classic Rewind: Lee Ann Womack – ‘Last Call’

Album Review – Lee Ann Womack – ‘Call Me Crazy’

Following the success of There’s More Where That Came From, Womack released the single “Finding My Way Back Home” in August 2006. A return to the poppier sounds she favored on I Hope You Dance, the song failed to rekindle her radio career and an album of the same name was shelved.

Her next full-length album Call Me Crazy finally saw the light of day in the fall of 2008. Upon release critics hailed the album as one of the year’s best and praised Womack for continuing to explore her roots and show that women don’t have to rely on singing feel-good songs all the time.  Read more of this post

Classic Rewind – Lee Ann Womack – ‘Twenty Years and Two Husbands Ago’

Occasional Hope’s Top 10 Albums of 2011

2011 wasn’t the best year for country, but there was still some very good music to be found if you looked for it.  Just missing the cut for my personal top 10 were fine records by the excellent Sunny Sweeney, country chart debutant Craig Campbell, independent artist Justin Haigh, blue collar bluegrass newcomer Scott Holstein, the compelling close harmonies of the Gibson Brothers,  and an enjoyable if not groundbreaking live set from Amber Digby which flew under the radar.

So what did make my cut? Read more of this post

Christmas Rewind: Lee Ann Womack – ‘New Kid In Town’

Lee Ann singing Keith Whitley’s Christmas song in 1997:

Album Review: Lee Ann Womack – ‘There’s More Where That Came From’

2005’s There’s More Where That Came From is a pivotal album in the discography of Lee Ann Womack that helped to erase memories of the disastrous Something Worth Leaving Behind and to re-establish much of the credibility that she had lost with that ill-advised flirtation with pop diva-dom. Three years after her last full-length studio release, Lee Ann was back in a big way, with a new producer and a new sound. Or, perhaps a more accurate way to put it would be a new old sound. There’s More Where That Came From pays homage to a bygone era, with a retro sound and artwork that made it resemble a Tammy Wynette album from the 1970s. The disc itself even has the same design that MCA had used on its vinyl releases in the 70s and 80s, with a rainbow coming out of the clouds.

The country music landscape had changed considerably since Lee Ann’s debut just eight year earlier. Whereas her first album arrived at a time when it appeared that the genre might be swinging back toward its roots, There’s More Where That Came From was released at a time when things had moved decidedly toward the pop end of the spectrum and when the youth movement was in full force, leaving artists over the age of 40 at a distinct disadvantage. It is therefore, a little surprising that Lee Ann was allowed to release what could only have been viewed at the time as a non-commercial album, but her career had nosedived so badly by that time, her label perhaps felt that there was nothing left to lose.
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Album Review: Lee Ann Womack – ‘The Season For Romance’

Following the immense crossover success of “I Hope You Dance”, MCA Records continued to push Lee Ann Womack further in the pop direction, hoping to make her into a pop diva like Shania Twain or Faith Hill. Something Worth Leaving Behind, released in August 2002, bore very little resemblance to country music and was both a critical and commercial disaster. Two months later, Lee Ann released a Christmas collection, which also had little to no connection to country music. While it’s not uncommon for country stars to go for a more traditional pop or big band sound on holiday collections, the timing of The Season For Romance, on the heels of Something Worth Leaving Behind, added to the perception that what Lee Ann was leaving behind were her country roots.

Many people are nostalgic for Christmas music in the vein of Bing Crosby, Dean Martin and Johnny Mathis, even if this isn’t the type of music they normally listen to throughout the year. In the past, country stars such as Vince Gill, Lorrie Morgan, and Martina McBride have attempted to recreate those sounds on their holiday albums, and it’s often been quite effective. But unfortunately, this is decidedly not the case with The Season For Romance. Seldom have I heard an album where the singer seemed so ill at ease with the material as is the case here. Throughout the entire album, Lee Ann seems to be working too hard to erase her Texas accent, and too often seems to be competing with the orchestra rather than singing with it. Songs such as “Let It Snow” and “Winter Wonderland” sound as though Lee Ann recorded the vocal track without any knowledge of the type of arrangements or instrumentation that would be used with it.

The album’s worst track is the remake of “Baby, It’s Cold Outside”, which has never been one of my favorite songs. A pop standard dating back to the 1940s, its best known version is probably Dean Martin’s 1966 recording (Martina McBride’s duet vocals were added in 2006). Lee Ann is joined by Harry Connick, Jr. I may perhaps be a little biased since I’ve never particularly liked this song, but I found Lee Ann’s very breathy performance that tries too hard to be sexy, to be quite annoying.

I don’t mind so much that this isn’t a country album; my main gripe is that Lee Ann seems uncomfortable and out of her element throughout most of it. The sole exception is “The Man With the Bag”, which is the one song on which she really seems to be engaged and enjoying herself. “Have Yourself A Merry Little Christmas” and “Silent Night” aren’t bad — though I could have done without the distracting saxophone on the latter — but this is, for the most part, a lackluster and poorly executed project. I really hate to pan a Christmas album, particularly one from an artist whose work I usually admire, but I found this album very painful to listen to. Lee Ann is capable of much, much better and hopefully one day she’ll release a better Christmas album.

Grade: D

Lee Ann Womack honors George Jones

Head over to this week’s Quotable Country at Country California  – it has a clip of our current Spotlight Artist covering ‘The Grand Tour’ to celebrate the birthday of George Jones.

Album Review: Lee Ann Womack – ‘I Hope You Dance’

Lee Ann Womack’s most commercially successful album features crystalline vocals, an ambitious selection of material ranging from the traditional sounds closest to her heart to Americana to adult contemporary influences which barely escape being bland.

The title track was a massive crossover hit, thanks to the combination of the song’s message, very AC sounding, sophisticated production, and the lovely and obviously heartfelt vocal which Lee Ann directed to her two young daughters. The counterpoint of the Sons of the Desert (singing a different set of lyrics) is unusually set against the sweetness of Lee Ann’s optimistic vocal. The song’s ubiquity has led to some backlash, but I think it still stands up for what it is: a genuinely inspiring wish for a child to live life to the full and not regret any missed opportunities. And its message is worth hearing:

Loving might be a mistake but it’s worth making

Lee Ann’s only #1 hit, ‘I Hope You Dance’ registered platinum, won a stack of awards for both Lee Ann and its writers Mark D Sanders and Tia Sillers, crossed over to hit the top of the AC chart, and even got some pop and international airplay. It may not be her best record, but it is undoubtedly her best-known, particularly among non-country listeners.

The next single was a contrast in style and mood, a gutsy version of Rodney Crowell’s onetime minor pop hit ‘Ashes By Now’, which peaked for Lee Ann at #14. It’s one of her less country recordings, but undoubtedly technically an impressive achievement with Lee Ann successfully navigating the song’s awkward jerky rhythms, jaded mood and shifting intensity.

It was back to the ballads with ‘Why They Call It Falling’, another excellent song, written by Don Schlitz and Roxie Dean. It contrasts the thrill of falling in love with the devastation of subsequent heartbreak, and Lee Ann’s vocal is masterly, although the strings are a bit overwhelming in places. It peformed similarly to its immediate predecessor, and reached #13.

The last and best single, however, failed to make it into the top 20. The intense ‘Does My Ring Burn Your Finger?’ is a superb Buddy and Julie Miller song with a stinging lyric. Production on this track (one of three from the hands of Lee Ann’s husband Frank Liddell) is edgy but organic, with Lee Ann’s high lonesome wail just right for the starkness of the lyric addressed to the faithless spouse, with the Millers on harmony vocals.

Liddell’s other tracks are another Julie Miller song, the ponderous ‘I Know Why The River Runs’, which I could live without, and the infinitely better ‘Lonely Too’, written by Texas singer-songwriter Bruce Robison. This is my favorite on the record, a beautiful downbeat song, given a quietly impassioned delivery. The melody is quite lovely, with some strong fiddle from Aubrey Haynie and Larry Franklin and harmony vocals from Jon Randall making this a great sounding track. Lee Ann gently rebukes the careless lover who cannot understand why she is coping so badly:

You tell me you wondered if I was okay
Well, that’s a damn fool thing to say…

And you seem so surprised that I’m feeling this way
How am I so lonely today?
If you’d ever loved me the way I loved you
You would be lonely too

There are several other gems here.

The gorgeous ‘The Healing Kind’ opens the album with a subtle portrayal of disconsolate heartbreak which just won’t go away. This is a great song written by bluegrass singer/songwriter Ronnie Bowman and Greg Luck. Lee Ann’s exquisite vocal is backed by tasteful acoustic instrumentation and Ricky Skaggs’ harmonies, as she reveals a broken heart that hurts more every day, concluding bleakly as she meets yet another cold December alone,

Guess I’m just not the healing kind

Equally fine is the delicate Tammy Wynette styled ‘Stronger than I Am’ written by former singer Bobbie Cryner. A beautiful melody and tasteful strings sweeten a heartbreakingly incisive lyric about an abandoned wife who contrasts her failure to cope with live without her man, to her little girl’s innocence,

She finally learned to say goodbye
She’s sleeping through the night
She don’t wake up crying
And she’s walking on her own
She don’t need no one holding to her hand
And I hate to admit she’s stronger than I am

She’s just like her old man
Stronger than I am

Perhaps the most traditional country number included, the vivacious ‘I Feel Like I’m Forgetting Something’ is a co-write by Lee Ann with Wynn Varble and Jason Sellers. The copyright date is 1997, so one suspects it was left over from one of her previous albums. A chirpy mid-tempo number with a lot of personality about getting over an ex, it isn’t the best song here, but it was well worth reviving. Less successful is ‘After I Fall’, written by producer Mark Wright with Ronnie Rogers and Bill Kenner, which is the blander side of adult contemporary and falls completely flat.

‘Thinkin’ With My Heart Again’ is a pretty but melancholy sounding song written by Dean Dillon, Donny Kees and Sanger D Shafer with another delicate vocal conveying the complex emotions brought out when encountering a former love. An airy acoustic cover of ‘Lord, I Hope This Day Is Good’ (a chart topper for Don Williams back in 1982) ends the album on a high, with Ronnie Bowman and Dan Tyminski singing harmony.

Thanks to the juggernaut of the title song, this remains Lee Ann’s best selling album, earning triple platinum status. The singing is outstanding throughout, and although the material is mixed, there is a lot of good stuff here, making it worth finding a cheap copy.

Grade: A-

Album Review: Lee Ann Womack – ‘Some Things I Know’

Like her contemporary Sara Evans, Lee Ann Womack followed up a neotraditional debut with a sophomore effort which was a little more in tune with contemporary tastes, but still recognizably country. The song quality is high, mainly down-tempo and focussing on failed relationships. Mark Wright produced again, but his work is less sympathetic this time around, leaning a little more contemporary than the neotraditionalism of her debut and too often smothered with string arrangements to sweeten the pill for radio.

‘A Little Past Little Rock’ is a great song about a woman who has left a desperate relationship in Dallas. Struggling to cope as she gets “A little past Little Rock, but a long way from over you”, Lee Ann delivers a fine vocal, but the track is somewhat weighed down by the swelling strings. Lee Ann’s ex-husband Jason Sellers is among the backing singers. Written by Tony Lane, Jess Brown and Brett Jones, it was the album’s first single and peaked at #2.

This performance was matched by a rare venture by the artist into comedy material which is one of my favourite LAW singles, written by Tony Martin and Tim Nichols. With tongue-in-cheek malice the protagonist vents her hatred of her successful romantic rival with the words ‘I’ll Think Of A Reason Later’ as

It may be my family’s redneck nature
Bringing out unladylike behavior
It sure ain’t Christian to judge a stranger
But I don’t like her

She maybe an angel who spends all winter
Bringing the homeless blankets and dinner
A regular Nobel Peace Prize winner
But I really hate her
I’ll think of a reason later

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Classic Rewind: Lee Ann Womack and Willie Nelson – ‘Mendocino County Line’

Classic Rewind: Lee Ann Womack ft Buddy Miller – ‘Don’t Tell Me’

Classic Rewind: Lee Ann Womack – ‘Does My Ring Burn Your Finger?’

Album Review: Lee Ann Womack – ‘Lee Ann Womack’

For a brief time in 1997 it appeared that country music was finally about to re-embrace its roots. Two female artists made their major label debuts that year and appeared to be leading the trend back towards traditionalism: Lee Ann Womack with her self-titled debut in May, and Sara Evans with Three Chords and the Truth in July. As we now know, these albums were something of an anomaly; country music continued its drift popward and both both Evans and Womack would go on to experiment with more polished, pop-oriented sounds. Nevertheless, Lee Ann has earned a reputation as a primarily traditional artist, thanks in no small part to her platinum-selling debut.

Lee Ann’s vocal style has been compared to that of a young Dolly Parton, and late 60s-style sound of the album highlights the similarities. The fiddle and steel guitar are featured prominently throughout the album, and most of the ballads also feature tasteful and restrained string arrangements performed by The Nashville String Machine. The first single, “Never Again, Again” was released two months in advance of the album itself. Lee Ann had great hopes for the record and was reportedly disappointed when it peaked at #23, even though this is a perfectly respectable showing for a debut record. Another ballad, “The Fool”, was selected as the album’s next single. Lee Ann had been reluctant to record it, saying that it was “a good song, but it’s not ‘Never Again, Again'”. But ironically, “The Fool” surpassed “Never Again, Again” on the charts, just missing the top spot and earning Lee Ann her first bonafide hit. The uptempo “You’ve Got To Talk To Me”, written by Jamie O’Hara, was released as the third single, and like “The Fool”, it peaked at #2. Another uptempo number, “Buckaroo” peaked at #27.

Overall, the album highlights Lee Ann’s strength as a ballad singer. There are some truly beautiful moments on the album with songs such as “Am I The Only Thing You’ve Done Wrong”, which Lee Ann wrote with her ex-husband Jason Sellers and Billy Joe Foster, “Do You Feel For Me”, and “Make Memories With Me”, a gorgeous number performed as a duet with her Decca labelmate and fellow Mark Wright-produced act Mark Chesnutt. “Make Memories With Me” should have been released as a single, but Decca was most likely reluctant to send too many ballads to radio. It’s a shame that there haven’t been any subsequent Womack-Chesnutt duets because their voices work very well together.

The album’s weak spots tend to be the uptempo numbers. Though well performed, “Buckaroo” borders on hokey and it’s not difficult to see why it only reached #27 on the charts. The same is true, to a lesser extent, of the album cut “A Man With 18 Wheels”, although “Trouble’s Here” stands in stark contrast with these two numbers. It actually works quite well, as does the Gospel number “Get Up In Jesus’ Name”, the album’s closing track which features background vocals from Ricky Skaggs and Sharon White.

In retrospect, it’s a pity that Lee Ann didn’t debut four or five years earlier; if she had, she’d have likely enjoyed more consistent success at radio. By the late 90s, listeners appeared to be tiring of Faith Hill and Shania Twain, and Lee Ann seemed to be the perfect antidote, but her success was short-circuited by both her own pop ambitions and the emergence of other, younger country-pop divas such as Carrie Underwood and Taylor Swift. Nevertheless, Lee Ann Womack remains my favorite album in the singer’s discography. Cheap copies are readily available from Amazon. Buy one if you don’t already own a copy.

Grade: A

Classic Rewind: Lee Ann Womack – ‘Why They Call It Falling’

Classic Rewind: Lee Ann Womack – ‘The Man Who Made My Mama Cry’

Spotlight Artist: Lee Ann Womack

Lee Ann Womack was born in Jacksonville, Texas, in 1966. Her part-time DJ father encouraged her interest in country music as she grew up. After attending South Plains Community College for a year, where she studied singing country music and sang in the college’s band Country Caravan, she moved on to Belmont College in Nashville where she studied music business and made her first contacts with MCA as an intern, whilst honing her skills as a singer and songwriter. She dropped out of college to marry fellow singer/songwriter Jason Sellers in 1990 and give birth to their daughter Aubrie Lee a year later. This marriage did not last, ending in divorce in 1997, and in 1999 Lee Ann married producer Frank Liddell, with whom she had another daughter.

In 1995 she signed a publishing deal with Tree as a songwriter, and a year later got a recording deal with Decca Records. Her debut album was an immediate success, and launched her as one of the artists most rooted in traditional country music at a time when more pop-influenced artists were dominating the airwaves. She was named the Academy of Country Music’s Best New Female Vocalist. Ex-husband Jason also got a record deal (with BNA) at roughly the same time, but his career failed to take off.

Lee Ann transferred to sister label MCA when Decca closed its door in 1999. Her music was to become more contemporary over the next few years, particularly after she enjoyed a monster hit in the form of the inspirational ‘I Hope You Dance’ in 2000, which swept the wards, winning the CMA and ACM Single and Song of the Year awards, and a Grammy for Best country Song. The song’s crossover success introduced her to a new audience, and brought opportunities including the chance to sing at the award of the Nobel Peace Prize. In 2001 she was CMA Female Vocalist of the Year. However, her fans were disappointed with the direction her music was taking, and her career began to decline.

In 2005 she made a triumphant return to traditional country music with the deliberately retro sound (and artwork) of There’s More Where That Came From, harking back to the glory days of Tammy Wynette in the 1970s, with a selection of material heavy on the cheating songs which had fallen out of favour with country radio in recent years as the industry concentrated on more ‘family friendly’ content and the positive up-tempo numbers ironically decried by Alan Jackson. The album was named the CMA Album of the Year. Three years later she released her most recent album, 2008’s critically acclaimed Call Me Crazy. Her fans have been waiting too long for new music, with the exception of odd tracks like 2009’s rather disappointing single ‘There Is A God’ and the superb ‘Liars Lie’ on the Country Strong soundtrack. However, rumor has it she has been back in the studio and is looking to make a comeback in 2012.

Although she has only released six studio albums and one Christmas album, with patchy singles success of recent years, Lee Ann Womack has had a remarkable impact on the genre. She is widely regarded as the standard bearer for traditional country among female singers on major labels, and as one of the finest singers in country music regardless of sub-genre. She is in demand to duet with or sing harmony on records by artists of the caliber of George Strait (CMA Vocal Event of the Year ‘Good News, Bad News’) and Alan Jackson (‘Til The End’).

Although she is a favorite of the MKOC writers, we haven’t picked Lee Ann as a Spotlight Artist before now because we’d been hoping that we could tie it in with a new album release. Although I understand she should have a new album released next year, we just couldn’t wait any longer. So over this month we’ll be mixing up our end-of-year coverage with a look at the music of Lee Ann Womack.

Album Review: Vince Gill – ‘These Days’

As we’ve often noted here, it was common practice in the 1960s and 1970s for artists — inside and outside of country music –to release three or four albums a year, unlike the present day when most artists release one album every two or three years. While preparing to work on a new album in 2006, Vince Gill was inspired by The Beatles’ prolific output and decided to put a 43-track four disc collection instead of a single album. Released to tremendous critical acclaim in October 2006, These Days was an ambitious project that showcases the depth and breadth of Vince’s musical taste. It encompasses a variety of genres from rock, pop, jazz, and blues to traditional country and bluegrass. Vince wrote or co-wrote all 43 songs and produced the project himself, with some help from John Hobbs and Justin Niebank. The production team put together a impressive roster of guest artists from both within and outside country music.

The first disc, titled Workin’ On A Big Chill: The Rockin’ Record, is as the title implies, a collection of ten rock and rockabilly tunes. Though the songs are all well performed, I’m not much of a rock fan, so this is my least favorite disc in the collection. I do like the rockabilly number “Nothin’ For a Broken Heart”, on which Rodney Crowell is a guest artist, and even better is the bluegrass-tinged collaboration with the Del McCoury Band, “Son of a Ramblin’ Man”. The rest of the songs on this disc don’t interest me very much, and consequently this one has been played less than the other three.
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