Lee Ann Womack – Tickets – Rams Head On Stage – Annapolis, MD – April 21st, 2015

Lee Ann Womack

Lee Ann Womack

Amanda Shires

Tue, April 21, 2015

Doors: 7:00 pm / Show: 8:00 pm

Rams Head On Stage

Annapolis, MD

$65

This event is 21 and over

Lee Ann Womack
Lee Ann Womack
Artists don’t really make albums like Lee Ann Womack’s THE LONELY, THE LONESOME AND THE GONE anymore; Albums that seem to exist separate and apart from any external pressures; Albums that possess both a profound sense of history and a clear-eyed vision for the future; Albums that transcend genres while embracing their roots; Albums that evoke a sense of place and of personality so vivid they make listeners feel more like participants in the songs than simply admirers of them.

Anybody who has paid attention to Womack for the past decade or so could see she was headed in this direction. THE LONELY, THE LONESOME AND THE GONE (ATO Records) — a breathtaking hybrid of country, soul, gospel and blues — comes from Womack’s core. “I could never shake my center of who I was,” says the East Texas native. “I’m drawn to rootsy music. It’s what moves me.”

Recorded at Houston’s historic SugarHill Recording Studios and produced by Womack’s husband and fellow Texan, Frank Liddell (fresh off a 2017 ACM Album of the Year win for Miranda Lambert’s ‘The Weight of These Wings’), THE LONELY, THE LONESOME AND THE GONE marks the culmination of a journey that began with Womack’s 2005 CMA Album of the Year ‘There’s More Where That Come From,’ moving her toward an authentic American music that celebrates her roots and adds to the canon. It also underscores the emergence of Womack’s songwriting voice: She has more writing credits among this album’s 14 tracks than on all her previous albums combined.

Womack had made the majority of her previous albums in Nashville, where the studio system is so entrenched it’s almost impossible to avoid. Seeking to free herself of that mindset, Womack says, “I wanted to get out of Nashville and tap into what deep East Texas offers musically and vibe-wise.”

So Womack and Liddell took a band to SugarHill, one of the country’s oldest continually operating studio spaces. In an earlier incarnation, the studio had given birth to George Jones’ earliest hits, as well as Roy Head’s mid-‘60s smash “Treat Her Right”; Freddy Fender’s ‘70s chart-topping crossovers “Before the Next Teardrop Falls” and “Wasted Days and Wasted Nights”; and recordings from Lightnin’ Hopkins, the Sir Douglas Quintet, the 13th Floor Elevators and Willie Nelson.

Womack found the lure of East Texas irresistible. “I love local things, and I missed local music,” she says. “I grew up in Jacksonville. It was small, so I spent a lot of time dreaming, and about getting out.” It required only a short leap of logic to view Houston, and specifically SugarHill, as the place to record.

Womack and Liddell found a perfect complement of musicians, players who clicked right away and became a one-headed band. Bassist Glenn Worf (Alan Jackson, Bob Seger, Tammy Wynette, Mark Knopfler and others), drummer Jerry Roe (numerous Nashville sessions and his band Friendship Commanders), guitarists Ethan Ballinger, Adam Wright (Alan Jackson, Solomon Burke and others), and Waylon Payne (son of singer Sammi Smith and Willie Nelson’s longtime guitarist Jody Payne) formed the SugarHill gang. Engineer and co-producer Michael McCarthy, known for his production work with Spoon, brought vintage gear from his Austin studio and help capture a sharper sound for sessions recorded entirely to analog tape.

“I got everybody out of their comfort zone and into a new element,” says Womack. “And it was funky there. This place was not in the least bit slick. Everybody there, all they think about is making music for the love of making music. Everyone comes in with huge smiles and positive attitudes. It was much different than what we were used to.”

Womack had brought a handful of songs to record, including the gospel-inspired original “All the Trouble”; the poignant “Mama Lost Her Smile,” in which a daughter sorts through her family’s photographic history looking for clues to a long-secret sorrow; and the love-triangle conversation “Talking Behind Your Back,” which she penned with Dale Dodson and Dean Dillon, the writer of several George Strait classics. To make the final cut, Womack and the band had to be able to get to the heart of the songs and shine their light from the inside out.

A trio of long-time favorites found their way onto the album, too. Womack joined a long list of legendary voices irresistibly drawn to Harlan Howard’s “He Called Me Baby,” putting a sultry Southern groove underneath its mix of sensuality and sorrow. On “Long Black Veil,” a tale of betrayal and closely held secrets that became a ‘50s classic as recorded by Lefty Frizzell, she taps into a ballad tradition that runs centuries deep. Womack recorded the album’s final track, a haunting version of George Jones’ “Please Take the Devil Out of Me,” standing on the same gold-star linoleum floor where Jones cut the 1959 original.

Capturing the reality of East Texas music isn’t always easy. Being in Houston and at SugarHill helped make that happen, inspiring an approach to the recording process that everyone embraced from the first note played. “Music down there — including Houston, Beaumont, Port Arthur and all the way through Louisiana, Mississippi and Alabama — is this huge melting pot,” Womack says. “I love that, and I wanted that in this record. I wanted to make sure it had a lot of soul in it, because real country music has soul, and I wanted to remind people of that.”

“When you make albums, and aren’t just going for singles, you really have to treat them with respect,” Liddell adds. “We did that at SugarHill, taking a bunch of like-minded lunatics and seeing what happened.”

In Houston — with all its history, its eccentricity, its diversity and its lack of pretense — those like-minded lunatics found a place where they could flourish.

“We all felt we weren’t going someplace just to make a record,” Womack says. “We were going someplace to make a great record.” Don’t just take her word for it, though. Listen. And when Womack and the music take you there, you’ll find you want to stay.
Amanda Shires
Amanda Shires
“It’s all rock & roll – no golf!” is how acclaimed singer/songwriter/violinist Amanda Shires describes her electrifying fifth album, To The Sunset. She’s borrowed a lyric from the effervescent track “Break Out the Champagne,” one of ten deftly crafted songs that comprise her powerful new recording. The Texas born road warrior, new mom, and recently minted MFA in creative writing has mined a range of musical influences to reveal an Amanda Shires many didn’t know existed. “Isn’t it refreshing?” Shires asks. Indeed. Distorted electric guitars, effects pedals, swirling keys and synths, and rockin’ rhythms certainly suit Shires’ visceral songcraft and lilting soprano.

It’s been a jam-packed eighteen months since the release of Shires’ critically hailed My Piece of Land: constant touring with her band and as a member of husband Jason Isbell’s 400 Unit; finishing her MFA, after her laptop and thesis were stolen on the road; and winning the Americana Association’s 2017 Emerging Artist award – all while nurturing a toddler. Armed with stacks of journals and an autoharp originally owned by venerable songwriter/producer Paul Kennerley, she wrote a batch of new songs in a flurry of focus and enforced solitude – in a closet at the Shires/Isbell rural abode. “With a two-year-old running around, there’s nowhere to hide,” Shires explains. While Isbell watched their daughter, she wrote from 10 am till midnight: “I just started writing and tearing apart my journals and taping the parts I liked to the wall, and shredding the rest and putting it into my compost, which I then feed to my garden.”

She reconvened with Land’s producer Dave Cobb (Isbell; Sturgill Simpson) at Nashville’s historic sound drenched RCA Studio A, with likeminded sonic adventurers, drummer Jerry Pentecost and keyboardist Peter Levin, alongside Isbell on guitar and Cobb on bass. Of course, she brought the fiddle she’s been playing since a teen, touring with Western swing stalwarts, the Texas Playboys. Only this time, she added effects pedals, distorting the instrument with which she’s accompanied Billy Joe Shaver, John Prine, and Todd Snider into something otherworldly. “I had never tried pedals before,” says Shires, “and I wanted to change my fiddle sound. I’ve been playing this instrument the same way for so long, and playing with pedals is so fun for me!” Likewise, she also revisited an early original, her hookladen “Swimmer,” with pianist Levin’s “miles of keyboard that sound so huge.”

While writing such stunners as the enchanting “Parking Lot Pirouette,” haunting “Charms,” and raucous “Eve’s Daughter,” she thought about their sonics. “I explained to Dave that I wanted the songs to have atmosphere,” Shires recalls. “That the album was going to be sort of poppy, and that I was doing that to bring some sunshine into the world, cause it’s pretty dark right now.” As she sings in her empowering “Take on the Dark,” buoyed by bouncy bass, machine-gun drumming, and swirling synth: “Worry can be a tumbling tumultuous sea/with all its roaring and its breaking/How ‘bout you be the waves/too unafraid to even be brave/and see yourself breaking out of this place.”

Shires is renowned for her carefully crafted, evocative songs. Just as she spent her youth as a journeyman fiddle player, Shires brought years of studying the masters to her songwriting. Impromptu encouragement from Shaver, for example, inspired her to take up the pen. “Before touring with Billy Joe Shaver, I was only a side person,” Shires avers. “I wasn’t a songwriter. I was observing. Then I made a couple of demo songs so people would know I could sing, and he said, ‘These are good songs. You should go be a songwriter in Nashville.’ I thought he was firing me, and I said, ‘No! I really like my job playing the fiddle. It’s my favorite thing to do.’ Then a year later, I decided he was right.”

Her influences include Leonard Cohen and John Prine, the latter of whom has been a mentor. “I was talking to John Prine while I was writing this record,” says Shires, “and he was talking about how using images that actually happened to you makes the songs true. Also, if you use images that you can see daily, it’s more relatable.” Shires took his advice to heart in such memorable tracks as “Break Out the Champagne.” “It’s all true!” says the resilient Shires. The near-plane crash over Newfoundland, her BFF Kelly’s fears about our apocalyptic times, another friend’s heavy breakup.

Shires says she also uses songwriting as a way to “get through my own emotional stuff, which is cheaper than a therapist.” An example is the Hammond B3-fueled “White Feather” with its “scarecrow” imagery. The idea struck when she experienced “cat calling that’s become okay again,” then expanded to include her thoughts on climate change and capitalism, “but it’s bigger than that,” Shires clarifies. “The song deals with fear and all the ways it discourages the expression of our individual identities. It’s about the walls we put up to protect ourselves and the way those walls become prisons.” In the synth-ful “Mirror, Mirror,” she examines self-doubt, via the catchy refrain, “Show me something different/Than the mirror on the wall.” And shimmering guitars frame “Leave It Alone” with such realizations as “What you think you’re feeling is crushing at most.”

Other songs were derived from the lives of her mother and father, including 21st century Flannery O’Connor style album closer, “Wasn’t I Paying Attention?” “True story,” Shire asserts. “I couldn’t make it up.” The gripping tale, with its crunchy rock & roll soundtrack, will leave listeners on the edge of their seats, while tapping their toes.

As a whole, To The Sunset, says Shires, “is meant to be a positive thing. Acknowledging your past, and at sunset, your hope for a new day. ‘To The Sunset’ sounds like a toast: This day is over, we don’t know what’s in the future, but it’s hopeful, I think.”

Shires has drawn from her own past on To The Sunset – and pointed the way to her future. She has set the bar high – sonically and lyrically – and she’s jumped over it.
Venue Information:
Rams Head On Stage
33 West St.
Annapolis, MD, 21401
http://www.ramsheadonstage.com/

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