Something Worth Leaving Behind

Editorial Reviews

Barnes & Noble - David McGee
With her blockbuster 2000 album, I Hope You Dance, Lee Ann Womack found her way into millions of hearts. But don't expect a retread on her worthy follow-up -- recorded in Hollywood and Nashville, Something Worth Leaving Behind is the kind of record her success deserves, as it nestles Womack's vocals in lush pop backgrounds. Her subject matter, however, remains familiar. The album's dozen songs are thematically connected by the topic of love -- love as a transfiguring force, love pursued, love denied, love celebrated, labors of love. The title song, which is reprised at the end of the album, states bluntly that being able to love defines a successful life. In the lovely ...
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Editorial Reviews

Barnes & Noble - David McGee
With her blockbuster 2000 album, I Hope You Dance, Lee Ann Womack found her way into millions of hearts. But don't expect a retread on her worthy follow-up -- recorded in Hollywood and Nashville, Something Worth Leaving Behind is the kind of record her success deserves, as it nestles Womack's vocals in lush pop backgrounds. Her subject matter, however, remains familiar. The album's dozen songs are thematically connected by the topic of love -- love as a transfiguring force, love pursued, love denied, love celebrated, labors of love. The title song, which is reprised at the end of the album, states bluntly that being able to love defines a successful life. In the lovely ballad "Forever Everyday" -- the album's most country moment, with delicately picked acoustic guitars, keening pedal steel lines, and discreet fiddle interludes -- Womack recalls the unabridged imagination and unconditional love of childhood, and bemoans its absence in adults. Julie Miller's vaguely medieval "Orphan Train" tells of a place where God awaits with love for all, no matter their status on this mortal coil. On a gorgeous countrypolitan blues number, "He'll Be Back," Womack sings dreamily, and longingly, of a heartbreaker who's bound to return to her "if he's anything like his memory." It would've been a great number for Patsy Cline, and indeed, is co-written by Hank Cochran, who collaborated with Harlan Howard on Cline's immortal "I Fall to Pieces." On a seductive blue-eyed soul number, Womack, à la Shelby Lynne, offers up a sultry come-on to an old flame who needs to come back to the one who loves him. Country fans might wish the same of Womack, but on Something Worth Leaving Behind, Womack uses her country roots as a point of departure, and her journey makes for an impressive display of pop craftsmanship.
All Music Guide - Thom Jurek
Lee Ann Womack scored her contemporary country music critical breakthrough with I Hope You Dance in 2000. Almost universally acclaimed, it showcased the singer's exceptionally wide range. While her platinum-selling self-titled debut made the critics take notice -- as usual in this genre, only underscoring what country music programmers, DJs, and listeners already knew -- and her sophomore issue, Some Things I Know, multiplied her fan base, I Hope You Dance was cited as a "career album," meaning that it wouldn't get much better. The pundits were wrong. Something Worth Leaving Behind cemented Womack's place in the country music pantheon by pushing her own boundaries as an artist further than ever before. Her seemingly effortless cruise through honky tonk, country-pop ballads, and searing midtempo "message" numbers serves her well on this wildly adventurous collection of songs. Stepping into the producer's chair for the first time -- along with longtime producers Mark Wright and Frank Liddell and newcomers Matt Serletic and Mike McCarthy -- Womack fills the album with some off-center, nearly alt-country cuts by Bruce Robison (the gorgeous ballad "Blame It on Me") and a pair by the now reclusive Julie Miller (the poignant "Orphan Train" and rollicking funky gospel tune "I Need You"), who also sings backup on the set. Added to this are tracks by mainstream successes Monty Powell ("When You Gonna Run to Me"), Gretchen Peters (the stellar and anthemic "I Saw Your Light"), and Brett Beavers (two versions of the title track) -- who accounted for the singles here. But it isn't just the mix of tunes. It's the performers themselves. Producer and guitar ace Kenny Greenberg handled the arrangements; former Joe Ely and John Mellencamp guitar slinger David Grissom is here and also contributed a tune; another former Mellencamp ace turned country session musician Kenny Aronoff mans the drum kit; and Greg Leisz, master of lap steel, pedal steel, and Dobro (or anything with strings called a guitar) is here as well -- as are many others. Womack nailed it on Something Worth Leaving Behind. It may not have sold quite as well as her previous offerings, but record biz folks were happy just the same, and it achieved an even higher level of acclaim than any of her preceding records, eking out a place in the CD collections of fans of rock, pop, and even adult alternative music in the process. Finally, more than any of her previous recordings, Something Worth Leaving Behind gave her the confidence and authority necessary to record her masterpiece, 2005's There's More Where That Came From.
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Product Details

  • Release Date: 8/20/2002
  • Label: Mca Nashville
  • UPC: 008817028729
  • Catalog Number: 170287
  • Sales rank: 137,790

Album Credits

Performance Credits
Lee Ann Womack Primary Artist
Alison Krauss Fiddle
Matt Rollings Piano, Hammond Organ, fender rhodes, Wurlitzer
Robert Mason Strings
Eric Darken Percussion
John Wesley Ryles Background Vocals
Mickey Raphael Harmonica
Brad Dutz Percussion
Julie Miller Background Vocals
Maxi Anderson Background Vocals
David Angell Strings
Kenny Aronoff Drums
Jeff Coffin Horn
Jim Cox Keyboards
Kim Fleming Background Vocals
Shannon Forrest Drums
Paul Franklin Steel Guitar
John Gilutin Keyboards
Carl Gorodetzky Strings
Kenny Greenberg Acoustic Guitar, Electric Guitar
David Grissom Acoustic Guitar, Electric Guitar
Jim Grosjean Strings
Vicki Hampton Background Vocals
Connie Heard Strings
Jim Horn Horn
Marcus Hummon Background Vocals
Marabeth Jordan Background Vocals
Jay Joyce Acoustic Guitar, Electric Guitar
Anthony LaMarchina Strings
Lee Larrison Strings
Chuck Leavell Piano
Greg Leisz Dobro, Pedal Steel Guitar, Steel Guitar
Colin Linden Acoustic Guitar
B. James Lowry Acoustic Guitar
Brent Mason Guitar, Electric Guitar
Chris McHugh Drums
Jerry McPherson Electric Guitar
Gene Miller Background Vocals
The Nashville String Machine Strings
Steve Nathan Synthesizer, Piano, Hammond Organ
Tim Pierce Guitar
Michael Rhodes Bass
Bruce Robison Background Vocals
Chris Rodriguez Background Vocals
Brent Rowan Electric Guitar, tiple
Randy Scruggs Acoustic Guitar
Lisa Silver Background Vocals
Pamela Sixfin Strings
Denis Solee Horn
Harry Stinson Background Vocals
Christian Teal Strings
Alan Umstead Strings
Catherine Umstead Strings
Gary VanOsdale Strings
Mary Kathryn Van Osdale Strings
Maxine Willard Waters Background Vocals
Oren Waters Background Vocals
Bergen White Background Vocals
Kristin Wilkinson Strings
Aubrey Haynie Fiddle
Spencer Campbell Bass
Lisa Cochran Background Vocals
Leland Sklar Bass
Bobby Huff Background Vocals
Matt Serletic electronics
Fleming McWilliams Background Vocals
Monisa Angell Strings
Pete Anthony Conductor
Gabe Witcher Fiddle
Bryan Sutton Banjo, Mandolin
Keith Sewell Background Vocals
Cate Myer Strings
Janet Askey Strings
Elisabeth K. Small Strings
Lynn Peithman Strings
Jeffrey Roach Piano, Keyboards
Dan Colehour Background Vocals
Heitor Teixeira Pereira Guitar
Technical Credits
David Campbell String Arrangements
Greg Droman Engineer
Noel Golden Engineer
Kenny Greenberg Arranger
Jay Joyce Arranger, Programming
Steve Marcantonio Engineer
Stephen Marcussen Mastering
Dennis Sands Engineer
Bergen White String Arrangements
Kristin Wilkinson String Arrangements
Mark Wright Producer
Craig Poole Guitar Techician
Stewart Whitmore Digital Editing
Buddy Jackson Art Direction
John Painter Arranger
Lee Ann Womack Producer, Author
Matt Serletic Arranger, Producer, Orchestral Arrangements
Mike McCarthy Producer, Engineer
Karinne Caulkins Art Direction
Carole Neuen-Rabinowitz Contributor
Karen Winkelmann Contributor
Frank Liddell Producer
Todd Gunnerson Engineer
Felix Wang Contributor
Hank Williams Mastering
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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    don't leave this one behind!

    There’s a bit more of a pop sound in some of the songs like ‘I Need You’ but Lee Ann still has that country voice that’s always going to be in all of her music. She also tackles subjects of love with a more mature and thought provoking tone. For those who might be thinking that the title track ‘Something Worth Leaving Behind’ is the only good track, Lee Ann will surprise you with one great hit after another. She weaves these great stories out of her music that aren’t just about being bitter or hopelessly in love. ‘I Saw Your Light’ is a beautifully written piece of a lost love in which she looks back and remembers the good things in the relationship but also understands how the breakup has positively effected her life.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    JUST FABULOUS!!

    I never saw myself buying this CD, but I'm so glad I did! I was hooked from the first track and just loved the entire CD although tracks 1&3 are my favorites. Her voice is just incredible. I will be waiting for her next CD and hope it won't take too long!

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    Excellent

    Every song is great!

    Was this review helpful? Yes  No   Report this review
Sort by: Showing all of 3 Customer Reviews