La Mirada Theatre for the Performing Arts on Saturday, October 13th at 8 pm. Artists don’t really make albums like Lee Ann Womack’s The Lonely, the Lonesome and the Gone anymore. 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. The new album – 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, 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.[/vc_column_text][vc_video link="https://www.youtube.com/watch?v=CL65qAnxicQ"][vc_column_text]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. “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.” To purchase tickets for Lee Ann Womack, click here to order online, by phone call (714) 994-6310, or visit the box office in person. Source: La Mirada Theatre for the Performing Arts | LeeAnnWomack.com[/vc_column_text][/vc_column][/vc_row]]]>
Lee Ann Womack performing at La Mirada Theatre