Lee Ann Womack: Call Me Crazy

She's walking that traditional/modern tightrope, trying to decide where to land.

Lee Ann Womack

Call Me Crazy

Label: MCA Nashville
US Release Date: 2008-10-21
UK Release Date: 2008-10-27

The first song on Lee Ann Womack’s new album, “Last Call”, presents the image of a man in a bar, drinking his sorrows away, playing sad songs on the jukebox, and drunk-dialing his ex to get her back. It’s a traditional Country & Western image. But we hear it from a different perspective, that of the woman on the other end, at home, hearing the phone ring and ignoring it because she knows who it is and what he wants. Musically, the song is situated on her side as well. It’s more ultra-serious soft-pop balladry than tear-in-beer country. Womack dismissively sings, “it’s always the same old song”, perhaps a modern view on country traditionalists, while the music also fits a modern prototype.

In a way, this is part of the Lee Ann Womack story, a crossroads of tradition and modern ways. She has an old Texas voice, compared to Dolly Parton for good reason, which is why on “Last Call” something seems mismatched. She sounds more comfortable two songs later, when she’s in that dark old bar herself, doing some “Solitary Thinkin’” and “lonesome drinking”. She came here to hear one sad song, but knows she’ll stay until closing time because she feels right at home. This time, she’s the one doing the calling: “I let it ring / On and on / In a lonesome serenade”. She sounds right at home, too: relaxed. And in that setting, her voice shines.

The same relaxed atmosphere helps here on the superb second half of the album, from the seventh song on. “The King of Broken Hearts” is one of those songs country music characters hear playing on the jukebox in the country bar, and it’s sung well here by Womack. “If These Walls Could Talk” (they’d pray) is a clever spin on the domestic-drama country song, as she sings of “5,000 square feet of living hell / And two hearts that need to be saved”. The George Strait duet “Everything But Quits” looks back to tradition, too, with a light Texas waltz. It’s a leisurely stroll, an old-fashioned love song, with strong, confident singing from both.

“I Think I Know” is a tribute to passed-away country legends, but a restrained one, and better for it. She’s not trying to stand on top of anyone’s grave. The message is there’s an inner loneliness that accompanies commercial success and failure. It’s a song aware of the spine of sorrow within country music, and it’s finely, carefully written. Another place where songwriting itself takes Womack to new heights is “The Bees”, an at-first confounding song with many levels to it. The song tells a lot quickly. The main character’s mom ran away, her father beat her, and now she sits on the front porch thinking back on those times, listening to the bees buzzing and thinking of what their families are like. The song is filled with vivid details, tells a complete story (with a happy ending, even), and has a chorus mysterious enough to pique interest. Womack doesn’t over-sing it, either. She’s quiet, right there with the details in the song and at the same time capturing that Southern, summer-on-the-porch vibe. Even with the happy ending, there’s nothing sappy about it -- which can’t be said for some of the other songs here.

Actually, sentimentality isn’t the problem so much as the songs’ arrangements glossing over the darker side, forgetting about the "crazy" in the album title. Like on “Either Way”, where she sings a song of devastation, but the devastation doesn’t carry through. Then again, she often sings her way out of traps like that. The carpe diem song “The Story of My Life”, a would-be follow-up to her instructional hit “I Hope You Dance”, doesn’t sound half as self-righteous as it would in someone else’s hands. Or listen to “I Found It in You”, a boisterous love song, typical in sentiment but sung to the rafters. She has a way of taking old sentiments and making them sound vibrant and new, even if in the traditional/modern balance she often tilts to the latter when you want her to lean towards the former.

One song on Call Me Crazy has this as a theme, actually. “I thank God for those who make the old new again”, she sings on “New Again”. The song makes a connection between old/new things and old/new selves, getting a little too self-help-book for my taste. But then there’s a moment in the song where she tries to tap into more universal feelings and hits pay dirt, singing as a stream the lines, “We’re all lost and found / Damaged goods / Cast aside / Misunderstood / Scratched and dented / Needing paint / A sin away from a saint”. Call Me Crazy is best when Womack conveys the understanding that we’re all sinners, when musically she doesn’t try too hard to isolate herself from the sins. After all, in the world of country music, sin is never that far away.


In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

Keep reading... Show less

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Keep reading... Show less

It's ironic that by injecting a shot of cynicism into this glorified soap opera, Johnson provides the most satisfying explanation yet for the significance of The Force.

Despite J.J. Abrams successfully resuscitating the Star Wars franchise with 2015's Star Wars: The Force Awakens, many fans were still left yearning for something new. It was comforting to see old familiar faces from a galaxy far, far away, but casual fans were unlikely to tolerate another greatest hits collection from a franchise already plagued by compositional overlap (to put it kindly).

Keep reading... Show less

Yeah Yeah Yeahs played a few US shows to support the expanded reissue of their debut Fever to Tell.

Although they played a gig last year for an after-party for a Mick Rock doc, the Yeah Yeah Yeahs hadn't played a proper NYC show in four years before their Kings Theatre gig on November 7th, 2017. It was the last of only a handful of gigs, and the only one on the East coast.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.