Call Me Crazy

( 4 )

Editorial Reviews

Barnes & Noble - Mark Schwartz
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 ...
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Editorial Reviews

Barnes & Noble - Mark Schwartz
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.
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-]

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: 602498889596
  • Catalog Number: 000602502
  • Sales rank: 81,061

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
The 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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Customer Reviews

Average Rating 5
( 4 )
Rating Distribution

5 Star

(3)

4 Star

(1)

3 Star

(0)

2 Star

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1 Star

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Sort by: Showing all of 4 Customer Reviews
  • Posted October 1, 2010

    True Country Artist

    Lee Ann and producer Tony Brown have produced a gold one for many years. <BR/>Everybody forget her big break thru hit "Like you were Dancing" or something like that..folks, she's country thru and thru..or pure and pure..just sit down and listen ...pour a drink and have your hanky near by..Lee Ann is THE BEST FEMALE COUNTRY SINGER IN NASHVILLE TODAY!!<BR/>Lee Ann , girl, your CD is fabulous!!!

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  • Anonymous

    Posted May 29, 2009

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    Posted August 2, 2010

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  • Anonymous

    Posted December 25, 2008

    No text was provided for this review.

Sort by: Showing all of 4 Customer Reviews