Call Me Crazy

Call Me Crazy

4.7 4
by Lee Ann Womack
     
 

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After the international pop success 2000's "I Hope You Dance," Lee Ann Womack has been steadily working her way back to traditional country music. Call Me Crazy marries a '70s country vibe, thick with pensive and mature reflections on relationships, to the demands of the contemporary country audience. And crazy or not, it works. Keith Urban drops by to…  See more details below

Overview

After the international pop success 2000's "I Hope You Dance," Lee Ann Womack has been steadily working her way back to traditional country music. Call Me Crazy marries a '70s country vibe, thick with pensive and mature reflections on relationships, to the demands of the contemporary country audience. And crazy or not, it works. Keith Urban drops by to harmonize on "The Bees," while George Strait returns to duet on "Everything But Quits," which evokes a George Jones-Tammy Wynette pas de deux. The single, "Last Call" may be a sop to country radio, but it's also a top-shelf drinking song. That's always been Lee Ann Womack's style -- a class act, through and through.

Editorial Reviews

All Music Guide - Thom Jurek
There are few vocalists in contemporary country music who can make a sad song feel so good. Lee Ann Womack is a poetess in her expressiveness. She uses it not only to communicate what's in the lyrics she sings, but also to arrest the listener's disbelief by underscoring her commitment to the dictum that positive change is always possible if you can survive the darkness. Call Me Crazy is Womack's first album in three years, a follow-up to her game-changing There's More Where That Came From. It walks a schizophrenic line both emotionally and musically: some moments recall the elegant, '70s pop-country sound that she consciously evoked on her previous disc, and there are others that are startlingly contemporary even by today's standards. Produced by Tony Brown, Call Me Crazy underscores his greatest strength: getting the essence of a vocalist across in a mix; but also his greatest weakness: the seeming inability to leave a musical backdrop until it's cluttered to death. The set's opener, "Last Call," is a classic example of what makes Womack such a fascinating and emotionally resonant singer. This is a weeper, but also a song with its self-determination intact. The protagonist sees a phone number on her cell, and knows just who it is, but doesn't answer. She knows her former lover is in a bar and desperate, listening to cheating songs and drinking. She refuses to answer because she knows she's always his last call. The weave of acoustic guitars, a lonesome pedal steel, grand piano, fretless bass, and mandolin make it unmistakable as a country song, but it's not militant in either its arrangement or vocal. She's half sorry but experientially past the moment of returning to earlier mistakes. Smack dab in the middle of the album is "The Bees," a tune with a folksy country melody, but with an instrumental and sonic arrangement that feels like Tom Waits meets Brian Eno! It's almost sci-fi it feels so out of place, but it also feels like she should have done an entire record like this with its pump organ, deep, slapping basslines, dirty drums, and loops allowing her vocal an entirely new depth. (If this were the single there might be hope for contemporary country yet.) But there is some real snooze-worthy stuff here too. The hollow "The King of Broken Hearts" features Womack doing her best Dolly Parton but the mix fails to ignite. Likewise, "The Story of My Life" can't decide whether it wants to be a modern production number or a simple country song. Womack contributed three fine songs to the set, the plaintive, tender "Have You Seen That Girl," a lilting honky tonk waltz called "If These Walls Could Talk," and, the wildly over-produced "Everything but Quits," a duet with George Strait -- a great song all but ruined by Brown's studio excesses. Despite a couple of missteps, there is plenty to like here. Call Me Crazy continues Womack's journey of creating her own sonic brand. Perhaps next time she will flex her star power more and insist on more production control.
Entertainment Weekly - Chris Willman
Even when she sings of emotional dead ends (''You can go or you can stay/I won't love you either way''), defeat has never sounded so winsome. [A-]

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Product Details

Release Date:
10/21/2008
Label:
Mca Nashville
UPC:
0602498889596
catalogNumber:
000602502

Tracks

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Album Credits

Performance Credits

Lee Ann Womack   Primary Artist,Background Vocals
George Strait   Vocals,Guest Appearance
Judson Spence   Background Vocals
Eric Darken   Percussion
Larry Franklin   Fiddle
Paul Franklin   Steel Guitar
John Jarvis   Piano,Hammond Organ,Hammond B3
Brent Mason   Electric Guitar,Gut String Guitar,Soloist
Greg Morrow   Bongos,Drums
Steve Nathan   Synthesizer,Accordion,Keyboards,Hammond Organ,fender rhodes,Wurlitzer,Synthesizer Accordian,Hammond B3
Michael Rhodes   Bass,Upright Bass
Randy Scruggs   Acoustic Guitar,Electric Guitar
Curtis Young   Background Vocals
Aubrey Haynie   Fiddle,Mandolin
Kim Keyes   Background Vocals
Keith Urban   Background Vocals
Bryan Sutton   Acoustic Guitar
Jason Sellers   Background Vocals
Wes Hightower   Background Vocals
Perry Coleman   Background Vocals
Ilya Toshinsky   Electric Guitar,Soloist
Morgane Hayes   Background Vocals
Melissa Hayes   Background Vocals
Chris Stapleton   Background Vocals
Melissa Hayes   Background Vocals

Technical Credits

Jim Lauderdale   Composer
George Strait   Duet
Tony Brown   Audio Production
Dean Dillon   Composer
Natalie Hemby   Composer
Bob Ludwig   Mastering
Nashville String Machine   Arranger
Brian Nash   Composer
Daniel Tashian   Composer
Bergen White   Arranger,String Arrangements
Brett James   Composer
Tom Shapiro   Composer
Chuck Ainlay   Engineer
Lee Ann Womack   Composer
Mark Nesler   Composer
Erv Woolsey   Management
Casey Beathard   Composer
Dale Dodson   Composer
Shane McAnally   Composer
Tim James   Composer
Angelo   Composer
Jim Cooley   Engineer
Hillary Lindsey   Composer
Waylon Payne   Composer
Whitney Duncan   Composer
Chris Stapleton   Composer
Michael T. Post   Composer
Kendall Marvel   Composer
Erin Enderline   Composer
Tony Martin   Composer

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