13 Songs, 51 Minutes

EDITORS’ NOTES

From its song topics to arrangement choices, There’s More Where That Came From invokes the ambiance of 1970s country. Lee Ann Womack ventured this way before, though hits like “I Hope You Dance” nudged her in an adult pop direction. Here, she’s decidedly gone Old School Nashville, moving to leisurely tempos and wrapping herself in keening fiddles and mournful pedal steel guitars. Fortunately, she doesn’t recreate the country stylings of the Me Decade so much as find relevance in the best aspects of the era. Tunes like “I May Hate Myself In The Morning” and “Twenty Years And Two Husbands Ago” find Womack exploring classic country themes with a bedrock honesty and a survivor’s spirit. “When You Get To Me” lets her cut loose for a guitar-driven workout. More typical, though, are tear-stained reflections like “Painless” or the title tune. “Stubborn (Psalm 151)” closes the album with a touch of romantic grandeur. Womack’s Southern Everywoman warmth and aura of self-reliance comes through in these tracks. While not a radical departure, There’s More Where That Came From eases her away from standard-issue country hit-making and towards something more uniquely her own.

EDITORS’ NOTES

From its song topics to arrangement choices, There’s More Where That Came From invokes the ambiance of 1970s country. Lee Ann Womack ventured this way before, though hits like “I Hope You Dance” nudged her in an adult pop direction. Here, she’s decidedly gone Old School Nashville, moving to leisurely tempos and wrapping herself in keening fiddles and mournful pedal steel guitars. Fortunately, she doesn’t recreate the country stylings of the Me Decade so much as find relevance in the best aspects of the era. Tunes like “I May Hate Myself In The Morning” and “Twenty Years And Two Husbands Ago” find Womack exploring classic country themes with a bedrock honesty and a survivor’s spirit. “When You Get To Me” lets her cut loose for a guitar-driven workout. More typical, though, are tear-stained reflections like “Painless” or the title tune. “Stubborn (Psalm 151)” closes the album with a touch of romantic grandeur. Womack’s Southern Everywoman warmth and aura of self-reliance comes through in these tracks. While not a radical departure, There’s More Where That Came From eases her away from standard-issue country hit-making and towards something more uniquely her own.

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