come anticipate Miranda Lambert's new double album The Weight of These Wings

they don't really sound alike but the conceit reminded me of cowboy junkies trinity session

"She's a little instigator" is a great line.

Miranda sounds a little embarrassed (for good reason) when one of the guys shouts "Ándale!" when she finishes singing "Tequila Does."

Lambert is quietly putting together one of the all-time great singer/songwriter careers

she's already the best working singer-songwriter

she's inarguably top five or so

i never knew much of her backstory except that she was on Nashville Star

Miranda was on the new episode of that Dave Grohl show on Paramount Plus “Cradle to the Stage” with her parents & her parents are something else! throwing in with her completely, her Dad taught her to play guitar, toured with her for her first 4 years, her Mom was her first manager … and they were private investigators, not like they were raking in huge cash to start with… it was pretty amazing to see all the hard work they all collectively put into her career (her included).. just laid out like that. Really moving.

it all comes out in the wash!

oh yeah, her parents are characters. Worked for Paula Jones's lawyers. Lots of weird and fun anecdotes in this article:

https://www.countryliving.com/life/entertainment/a43217/miranda-lambert-parents-private-detectives/

"Anchor" is such a great song. Does anyone know which of those two dudes (Ingram or Randall) is the singer (and presumably "main" songwriter)?

pretty sure it’s Ingram, if i recall correctly from the video

Thanks, I'll check out some of his other stuff...

On August 26, 2009, Ingram set a Guinness record for the most radio interviews in one day, when he was interviewed 215 times.

!!

crikey

there are 1440 minutes in a day

without sleeping, eating, or using the bathroom, every interview would have to last no more than 6 and a half minutes, not taking into account interview changeovers

calling bullshit on this bit of trivia

is there a reason not to allow for even shorter spots? like just a couple of minutes? since it’s radio there could be a lot of quick hits imo

Do you buy this trivia?:

This is also where he met famous country music artist Taylor Swift. Jack stated they were developing a relationship though she wasn't interested.

I didn’t know they did a Tiny Desk thing:

https://www.youtube.com/watch?v=AKK5FV6zPkY

they also did the first episode of this CMT network show "Campfire Sessions"
https://www.youtube.com/watch?v=M8RCYBvByyQ
http://www.cmt.com/shows/cmt-campfire-sessions

Dang that Tiny Desk is good!

this is the best album of all time

I was listening to the first Pistol Annies yesterday and thinking the same thing. Her longevity and versatility is a gift.

Acquaintances on a music-loving message board I frequent expressed genuine shock when this album appeared on the RS list. They still hold fast to CEG.

Love Crazy Ex-Girlfriend but for me this is pretty obviously the best Miranda album. Albeit I mostly mean the first disc when I say that.

Her only mediocre album is Four the Record, which, if so, well...

CEG is still my favorite, but "best," sure, I'm on the Wings train. There's an artistry and depth to it that is unique in her catalog, and I think she recognized that and very wisely chose to package it in a way that clearly stands out in her discography. But there's something to be said for CEG's tightness--some would find a song like "Famous in a Small Town" too tight, too Nashville, but me? I can't think of an opening three track run that I prefer in all of 21st century country music.

Her last two albums are its match, though. I get CEG' importance too

Not sure if I've shared this before, but I'm almost certain my first encounter with Lambert -- who I now consider my favorite solo artist, period -- was the Stylus 2007 AOTY list where CEG placed, iirc, 2nd, and the blurb was written by none other than Alfred Soto.

lol that's right!

my wife and I watched her season of Nashville Star, way back in another lifetime. she was clearly terrific, but i *think* i remember feeling like they picked the right winner? not certain about that. but i liked ol' Buddy Jewell.

platinum is her best album to me. she expanded her sound and at the same time the songwriting is as sharp and witty as ever, while also being emotionally affecting, and catchy. it's like what taylor did w/ 'red' except (imo) even better. or what kacey did w/ 'golden hour.' there's no fat on the album at all. "girls," "priscilla," bathroom sink" couldn't have been on any of the albums before that & those are perfect songs to me. just great songwriting in a very classic sense and with production that fleshes out her sound in a natural way. and then you have like "smokin and drinkin" where she does something completely new and pulls it off. "little red wagon" sounds like it could be on the first be your own pet album. the lyric "something about platinum irrefutably / looks as good on records as it does on me" is positively mariah carey-esque. "another sunday in the south" is an effortless southern rock homage... my favorite closer of hers. the bridge on "holding on to you" ("baby we just rolled in / it's cold here in michigan..."). prob a top 10 album ever for me honestly.

but i can't hate on anyone who thinks weight of these wings is her best album, that's the album that made me fall in love w/ her music. if you took the best 16 tracks on that it might be better than platinum but it's amazing that she did a double album and i happily play it all the way through. "happiness ain't prison but there's freedom in a broken heart."

i actually think wildcard is closer in quality to platinum than i would've thought possible, it's great in the same way tho obv less great. has at least three of her best ever songs to me. revolution is the fourth classic to me. i need to spend more time w/ CEG

a question i'm not sure i'd ever be able to answer is which album between weight of these wings ("runnin just in case" & "i've got wheels") and platinum ("girls" & "another sunday in the south") has the better opener/closer combo

I put Platinum one spot ahead of Wings on my decade ballot, but I consider "Somethin' Bad" one of her worst songs.

re: Openers/Closers, she's always been so adept at making and sequencing coherent albums, but Kerosene, CEG, and Wings would be my podium finishers. I don't know how she did it but she somehow took the album opener from one of my all-time favorite country albums, slowed it down a hair, and made it the perfect send-off to CEG. The way that track dissolves piece by piece and is left with just the drumbeat gets me every time.

I'm a little embarrassed b/c Platinum topped my 2014 album list. At the time I cringed at the title track, "Somethin' Bad," "Automatic," and "Gravity is a Bitch," the kind of shtick that made FTR stink. But Platinum also has "Smokin' and "Drinkin'," "Vice," and "Bathroom Sink (her best self-written song imo).

Wildcard and Palomino astonish me with their confidence, and they owe a lot to Wings.

My current ranking:

Wings
Wildcard
Crazy Ex-Girlfriend
Palomino
Kerosene
Platinum
Revolution
Four the Record

i've had a tough time getting into palomino honestly. it's all a bit... jaunty to me. but i need to revisit

it is quite jaunty! i love pretty much all the songs - i think it’d be a great roadtrip album. but mostly i love playing on friday evening after i’m done with my work week, they’re all pretty good “letting off steam” songs imo

i misheard the chorus for actin up initially, i thought it was “i want a car ride home, a california glow” instead of the correct lyric “colorado high, california glow” which makes sooo much more sense lol

otm

Yeah, I'll actually login for the first time since the Plague Years started to do this.

Here's how I assessed her full catalogue a few months back (on Twitter, hence the character counts):

A rankdown of the strongest catalog-- and it's not particularly close-- in this century's popular music. Side hustles in (#) but still ranked, and those side hustles are also better than most mainline careers. There's just no one else on Miranda Lambert's level.

#8 (#12) Wildcard (***)
Her contemporaries would dismember a hobo for an album this solid to be their worst. Too many half-baked, everything-to-everyone metaphors ("Bluebird" included, y'all) in the songwriting for a writer of her caliber, but some real winners, too.

#7 (#11) Four the Record (***1/2)
The heinous title tips its hand that something's a bit off for the first time, and it's the first of her albums to include anything that's actually poor ("Over You," still her worst single by miles, "Baggage Claim"). Still: Look at Miss Ohio.

(#10) Annie Up (***1/2)
Another bad wordplay as a warning sign. On their 2nd outing, they were still working out how seriously they wanted PAs to be taken after their debut's odd reception; it's the only time these 3, solo or together, ever sounded at all unsure of themselves.

(#9) The Marfa Tapes (****)
Points toward what her post-mainstream career might sound like, but let's hope that includes collaborators whose voices blend better with hers, less problematic cultural signifiers. But who else's first drafts are this good?

#6 (#8) Kerosene (****)
She was brilliant ("Kerosene," "Me and Charlie..," "What About GA") right out of the gate, conventional wisdom be damned; the slant rhymes and first-person details that she deploys better than anyone were already intact.

#5 (#7) Palomino (****)
An album that finds stability and comfort in restlessness and camaraderie in outsiders. She's covered these themes on individual songs before, but never with empathy this deep or with singing this nuanced. Some career-best lines in these songs.

(#6) Hell On Heels (****)
A slap in the face to the genre's authenticity fetishists, the Annies' debut revels in its artifice. Like the contemporaneous Laura Bell Bundy, they use country signifiers as a drag revue, and with killer, hook-forward songs.

#4 (#5) The Weight Of These Wings (****)
Less about her celebrity divorce than it is about how trauma re-forges a person's identity, it's her moodiest and most inward-focusing set. "Vice" remains a career-best, but, like most double-albums, this does have filler to cut.

#3 (#4) Revolution (****1/2)
Lacking the thematic heft of many of her other albums, it's still, song-for-song, her most consistently *great* set, a high-water mark for quality albums Music Row actually embraced.

#2 (#3) Platinum (****1/2)
Divorce Albums are a cliché, so Miranda, always ahead of the curve, made a Pre-divorce Album: Grateful for who she's been, keenly aware of who she is now, unapologetic about who she's going to be. A few clunkers, yes, but a bunch of her highest highs.

(#2) Interstate Gospel (*****)
No lingering doubts from its predecessor that they're a singular act of substance, the Annies' Interstate Gospel is the truth you *should* find in every hotel nightstand, a vision of an unmoored population that finds grace in limbo.

#1 (#1) Crazy-Ex Girlfriend (*****)
I said what I said: "Brash, insightful, wry, and, above all else, *smart*, Crazy Ex-Girlfriend confirms that Miranda Lambert is... a country music legend in the making, and the most vital artist Music Row has produced in a generation."

She's the best popular singer-songwriter.

I can't rank those marvelous Pistol Annies albums with Lambert albums.

She's absolutely the best popular singer-songwriter. I don't know that I would really even entertain a different argument.

xp-Alfred: That's why I offset them in (): They're deserving of their own consideration, but I also think it has been overlooked-- outside of Very Online Country Music Writers-- how great they truly are. Feels weird to exclude them entirely, when they're of a piece with Lambert's overall career.

Four the Record looks especially disappointing next to the release of the first Pistol Annies album.

Surprised to see Marfa Tapes rated so low. (Are the problematic cultural signifiers a reference to “Tequila Does”?)

To me, their voices not blending is sort of part of the charm, but I get the critique.

wait, i'm not much of a lyrics person ... what are the problematic cultural signifiers on Marfa Tapes?

oh sorry, xp ... should've read the "posted since" more closely

I respect The Marfa Tapes as demos for Palomino but I haven't listened to it since May 2021 and probably won't go back.

marfa tape - surely technically imperfect campfire harmonies are the whole point imo? the crackle of the fire or the wind in the microphone, shuffles & sniffles all part of the vibe

Yeah, its twilight-to-evening presence sneaks up on me every time, like a great one-off bootleg---think I'll scoop up that and all the Pistol Annies albums, incl. the xmas, and my imaginary friend The Great Lost Pistol Annies Album, from their solo joints etc.---and go tottering off---

But OK speaking of solo joints here are some, from my Nash Scene ballots, show previews etc over the years:

Miranda Lambert
Thursday @Celeste
When tiny blonde Miranda Lambert scored her first country hit by applying “Kerosene” to a cheatin’ boyfriend, the even-cuter-when-she’s mad factor promised to get out of hand. But ”Kerosene,” “Gunpowder And Lead” and “Crazy Ex-Girlfriend” gain more credibility as album tracks: tabloid-fueled or not, they’re as truly expressive as any other pages from the diary of a frustrated, sleeplessly dreaming small-town girl. Speaking of fuel, be sure to check the re-run of Lambert’s “Austin City Limits” set, where she and her band leave the somewhut more jaded or just plain tahred Gretchen Wilson’s crew in the dust.

Miranda Lambert
Friday @ Nationwide Arena

Young country star Miranda Lambert’s current album, “Revolution”, cranks up and orbits old folk star John Prine’s “That’s The Way The World Goes Round.” She’s found her own sharp-eyed stoicism, just naturally igniting when rubbed the wrong way too hard. Some say she rocks too hard for country, but Lambert’s “Only Prettier” draws on the droll, drawled comic zingers of honky tonk, and she thoughtfully, tunefully re-affirms her roots. It helps that her father’s an ace guitar picker, and both parents are also private detectives, specializing in marital disputes.

Miranda Lambert, Platinum: The winter of her discontent, and not just a diva's hissy fit. Oh yeah, when she stresses about being upstaged by her big loud stupid TV star husband (as if trying to maintain your hard-won status as a female star in NashVegas---having started as third-place finalist on TV's historic Nashville Star, then: gaining foothold via persona of cute-when-she's mad, eggsy gun-freak/pyro---now: vs. electro-bro chart toppers wasn't enough) we're perfectly cued to respond, "Oh no, Miranda, you're Elvis, he's Priscilla!" But she manages even that obvious move really well, ditto sassing us 'bout can't have a ride in my little red wagon---cause it's ALL MESSED UP. That's the way she really feels, pretty sure; she's not just playing hard to get, she is hard to get, hard to get a grip on, hard to accept, in her own view. Which is also true in the hinge track (getting even more relatable, as the kids say), where she doesn't wanna catch herself in the mirror, maybe looking like her Momma, the loved opponent who taught her to clean up this "Bathroom Sink," this microcosm of messy life itself. But she does go out with Little Big Town, getting relatable as hell on the bro and sis Saturday night parking lot circuit: "Smokin' and drinkin thinkin' bout the one that GOT AWAY," hell yeah, damn! Overall, the country equivalent of Beyonce's s/t Platinum Edition.

Prob be some argument, but to me, for now (especially with some of the guitars on relative mainstreamer Miranda Lambert's The Weight of These Wings is not that far from the more consistently "out" sounds of Lucinda Williams and cookin' E. Cook), this is a country album: the pitch and cadence of her voice, the turns of phrases, as written and sung, guide and shadow the grooves, bringing out the bluesy elements of crossroads sounds, without trying to pretend they're pre-digital; the subject matter, layers of atmospheric consistency---the fixations of an addict, recovering enough for perspective on same---though getting the fix, "getting straight," as they used to say, can provide enough detachment for moments of insight even inside the thing, as "Dharma Gate" and others suggest---all merge with certain classic themes of country, even if she's not meditating on a shot glass all of the time.

From a later online discussion:
Going for what I called her "sonic grid"---that dark, spare, hard-edged but flexible framework for the throughline of her narrative themes---has some of the same appeal as Stapleton and Eric Church's recent albums, something of a Jamey Johnson atmosphere too, but I doubt that she expects as much radio play as they've gotten. The main challenge is writing about this stuff at all, without becoming too dependent on lurid imagery or therapyspeak, or seeming evasive. Her current solution seems to be just to begin in the middle, to tell it like she might have told it then, in her most self-aware, lucid and candid moments. And maybe she's still in the middle of it, for all we know--but I have the impression (because the self-awareness etc is so sustained here) that she's been through some kind of therapy, with whatever lapses experienced or still possible, and of course the idea is to know yourself to be a recovering addict, present tense, no matter how long you've been sober. So, while these songs may not be the deepest, as Edd Hurt prev. mentioned, this is how far she's gotten writing-wise (with anything she'd want to show us now, at least).

Sorry! I was hewing too close to Ctrl + Search in the personal archive, so that Weight mention was really just in the middle of scribble about Elizabeth Cook's also badass Exodus of Venus.