Posts Tagged ‘Scotty Wray’

Album Review: Miranda Lambert: “Platinum”

June 12, 2014

Miranda Lambert

MirandaLambertPlatinum

Platinum

* * * * 1/2

Midway 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 Fromnine 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, butPlatinum wouldn’t be a Miranda Lambert record without the added touch of Rock & Roll.

Album Review – Miranda Lambert “Four The Record”

November 10, 2011

Miranda Lambert

Four The Record

* * * * 1/2

Miranda Lambert is by and large my favorite contemporary female artist because of her intrinsic ability to blend both the artistic and commercial sensibilities of country music on her records. She appeals to country radio with singles ready for heavy rotation yet restrains from populating her albums with gutless filler like her fellow artists.

Four The Record was recorded in six days, the week following her wedding to Blake Shelton.  Sessions began at 10am and lasted until midnight each day. Lambert has said she likes getting into a vibe and hunkering down to complete a record. This technique works in her favor, making the album every bit as cohesive as diverse. Plus, she’s using it to further her individuality. It sounds like nothing else coming out of Nashville right now and the uniqueness sets her apart from her peers.

Lambert is also a prime example of the quintessential songwriter. She knows how to write a killer song yet has a knack for selecting outside material from some of the most unique and interesting songwriters. Its one reason why listening to a Lambert album is such a joy. Four The Record features many such moments from Gillian Welch and Dave Rawlings gorgeous “Look at Miss Ohio” to Brandi Carlile’s folksy “Same Out You.”

I love the Welch/Rawlings ballad for it’s captivating story. Lambert has a way of making everything she sings sound interesting and she succeeds here. The air of mystery holds together the brilliant lyric – she’s running around with her ragtop down to escape the pressures of getting married. She’s fleeing her obligations to do the right thing, yet we never really know why she’s bolting to Atlanta. She’s reclaiming her independence but not without the guilt of what she’s leaving behind. It’s a story song for the ages, made even more appealing by the understated production and backing vocals by Karen Fairchild and Kimberly Schlapman of Little Big Town.

“Same Old You,” another understated winner, fell into Lambert’s lap after Carlile felt she couldn’t sell it like Lambert. I love the folksy vibe of the production here – the gentle strum of the lead guitar sets it apart from the rest of the album. But what brings the song to new heights is the Loretta Lynn-like quality of Carlile’s lyric. (Lynn is the common dominator the bonds Lambert’s friendship with Carlile). It’s refreshing when the narrator finally sees what’s in front of her – that no matter what day of the week, he’s just the same old person and he’s never going to change. When Lambert sings about how hurt his mama’s going to be when she finds out there won’t be any wedding to cap off this relationship, it shows her maturity. I like how she’s drawn to songs that bring new depths to her feistiness. She’s every bit the same woman, but doesn’t have to resort to killing off her man to prove it.

Another track to display this growth is Don Henry and Phillip Coleman’s “All Kinds of Kinds.” A sweeping ballad about diversity, it not only defines the link binding all the songs together, but spins a unique angle on acceptance. The beautiful flourishes of Dobro give the song a soft quality I find appealing and the metaphor of circus acts as a means of driving home the main point showcases the songwriters’ cleverness in crafting their story.

Her overall growth continues in Kacey Musgraves, Shane McAnally, and Brandy Clark’s gritty “Mama’s Broken Heart” as well as in the six songs she wrote or co-wrote herself for the project. I love the driving production on this song, especially on the chorus. The loud thumping drums and guitars help it become a standout moment on the album. I also adore how the songwriters spun the old adage of it’s not you’re parents (fill in the blank) into the hook line, “it’s not your mama’s broken heart.” I’ve heard rumblings this might be in contention for release to country radio and I’m all for it. What a joy it would be to hear this song coming through my radio speakers.

As for the six she wrote or co-wrote herself, Lambert never fails to disappoint. My favorite of these is “Easy Living,” which Lambert co-wrote with Scotty Wray. She was going for the vibe of sitting on the back porch, strumming a guitar, while listening to an AM radio. I love “am radio” effect cut underneath the song which is actually Randy Scruggs reading the Oklahoma Farm Report. I wish I could hear what he’s saying but for this distinctive effect to work, it couldn’t be too distracting from the overall song. I also admire the acoustic production, which brings to mind Shania Twain’s “No One Needs To Know.”

Another Lambert co-write is the emotional “Over You” written with Shelton about the death of his brother Richie when he was 24 and Shelton only 14 (he died in a car accident). They wrote the track in his honor as to say you may be in heaven but you’re still a part of our lives. They took the approach of crafting the song more as a break-up ballad than a song of death, which aids in its universal appeal but makes it easy to forget the overall message they are trying to convey. I also would’ve liked a more traditional production but the emotion in Lambert’s vocal saves the song from being slightly below what it could’ve been. Not surprisingly, it’s being downloaded like crazy on iTunes and is likely the second single from the project.

Her other moment of collaboration with Shelton is their duet “Better In The Long Run.” Pinned by Ashley Monroe, Lady Antebellum’s Charles Kelley, and Gordie Sampson, it features Shelton’s most committed vocal in years. While not up to the iconic nature of country’s legendary duet-pairings, it’s still above average, and works as their first serious duet together.

Lambert takes the liberty of pinning two of the album’s ballads solo, her way of making sure she can still write a great song on her own. I love the sweeping nature of “Safe,” a song she wrote about her feelings towards Shelton, but was taken aback by “Dear Diamond.” It’s a great lyric and all, and I love Patty Loveless’s harmony vocal, but I wasn’t expecting the song to be a ballad. With its biting lyrics, I thought it would have a bit more drive.

One song with plenty of drive is “Fine Tune,” a prime example of a song that probably won’t be a single but adds to the depth of the record. I thought my CD was broken when I first heard it, as I wasn’t expecting the vocal treatment. Writers Luke Laird and Natalie Hemby recorded the demo with a filter on the microphone, inspiring Lambert’s treatment of the song. I love the overall vibe here, especially after understanding Lambert’s reasons for the offbeat recording method. And while it works for this one song, I wouldn’t want to hear a whole album recorded like this.

In the end, Four The Record is essentially an album of all kinds of songs linked together by their overall diversity. I love that Lambert is taking more risks here by delivering an album that isn’t coasting on her success but using it as a springboard to bring outstanding material to the masses. She’s using her newfound clout to hopefully introduce some very talented singers and songwriters to people who would otherwise not have heard of them. In a world of singles, Lambert is the rare albums artist with the richest discography of any country singer since the turn of the millennium. Four The Record not only adds to her growing legacy, but also pushes her career forward in a big way.