By Elliott Sharp
By Hilary Hughes
By Rob Trucks
By Luke Winkie
By Seth Colter Walls
By Brett Koshkin
By Spencer Wilking
By Christina Black
Of all the divas Nashville has coughed up recently, Lee Ann Womack has to be the saddestwhich easily makes her the most fascinating, particularly since her biggest hit was the ultra-uplift, seize-the-day, lets-all-cry-and-twirl-on-the-beach anthem I Hope You Dance. So in 2005, when she snuck off to a dirty motel room for a liaison with trad country in Theres More Where That Came From, it seemed like a genius move. However,Call Me Crazy arrives and hedges the bet: Downy pop blooms next to pedal-steel-driven barroom weepers. The title is aptthis ones got a pronounced multiple-personality disorder.
Consequently, the shivers of recognition when Womack sings I bet youre in a bar in the glorious ache of Last Call give way to amnesia as you try to recall many of the songs after it. Furthermore, so many bromides float to the top of I Found It in You that it would make Hallmark gag. But as much as that song could be a PowerPoint presentation in Music Row Pandering 101, The Bees is weird by the standards of any genre, much less the tight-ass message-control freaks that run country music. An industrial hum and deep bass-drum slaps frame a song about child abuse and the redemptive power of being a drone . . . OK, thats just a guess. Whatever it is, its plenty cool. Womack tries to do her best Dolly Parton impression on the flat King of Broken Hearts, then retreats to uplift with the string-filled closer Story of My Life. Even so, theres a palpable melancholy in Womacks delivery, a resignation that makes you believeall right, hopethat theres a little more where that came from, and a little less of everything else.
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