Lee Ann Womack
The Way I’m Livin’
Sugar Hill Records
4½ stars (out of 5)
By Donald Teplyske
Lee Ann Womack had an extended reign as one of the most prominent country music entertainers of the late ’90s through to the late-aughts. But country music record companies are fickle these days, so Womack returned this autumn with her first album of new material in six years on Sugar Hill.
The Way I’m Livin’ is pure country with all the duality such entails. The difference this time out is that the songs come from a selection of the finest Americana writers of recent decades.
Some songs are sad and sentimental (“Send It On Down,” from Chris Knight and David Leone), while others find her dancing with the devil (the album’s wonderful—but largely ignored by country radio—lead single from Adam Wright, “The Way I’m Livin’.”) Julie Miller’s “Listen To The Wind” provides depth, and allows Womack to cut loose vocally while playing off the band, notably electric guitarist Duke Levine. Also among those contributing songs are Hayes Carll, Mindy Smith, Brennan Leigh, and Bruce Robison, with two.
Folks like Mac McAnally (guitar, piano), Paul Franklin (steel guitar), Hank Singer (fiddle, mandolin) and Glenn Worf (bass) create a throwback country sound that is clearly appealing.
Throughout this expansive album, Womack is in exceptional voice. Too mature to confuse histrionics for passion, to these ears Womack has never sounded better, more comfortable, or assured. “Nightwind” is a showcase for Womack’s singing, with gentle backing allowing her to carry the emotional weight of the song. “Same Kind of Different” sounds familiar, in a light and positive way, from first listen. Roger Miller’s performance of “Tomorrow Night in Baltimore” just missed the Top 10 in 1971; here, Womack flips the perspective and in doing so softens the off-putting tale of a sad man obsessed with a dancer.
“Out On The Weekend” is yet another chance for Womack to shine as she enlivens and freshens Neil Young’s classic song. Instrumentally, the performance is fuller than Young’s, and Womack’s voice is so much warmer; swapping the gender of the teller allows Womack to inhabit the song, delivering intensified vulnerability.
Within an industry where Nashville is reality, there should be room for an artist of Lee Ann Womack’s quality and intensity on the charts and radio. It appears, however, that Womack is going to have to continue creating her own path well outside the commercial country mainstream, much like folks such as Rosanne Cash, Rodney Crowell, and Emmylou Harris did before her.
It has worked out pretty well for them; no reason it shouldn’t for the multiple Country Music Association Award-winning Womack.