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Track List
01) All the Trouble
02) The Lonely, The Lonesome & The Gone
03) He Called Me Baby
04) Hollywood
05) End of the End of the World
06) Bottom of the Barrel
07) Shine On Rainy Day
08) Mama Lost Her Smile
09) Wicked
10) Long Black Veil
11) Someone Else's Heartache
12) Sunday
13) Talking Behind Your Back
14) Take the Devil Out of Me
01) All the Trouble
02) The Lonely, The Lonesome & The Gone
03) He Called Me Baby
04) Hollywood
05) End of the End of the World
06) Bottom of the Barrel
07) Shine On Rainy Day
08) Mama Lost Her Smile
09) Wicked
10) Long Black Veil
11) Someone Else's Heartache
12) Sunday
13) Talking Behind Your Back
14) Take the Devil Out of Me
5:41
3:49
4:40
4:05
2:18
3:19
3:20
4:02
4:07
4:38
3:55
4:17
3:49
1:37
Data Complete
60%
Total Rating
60%Total Rating
(0 users)
Back Cover
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First Released
2017
Country
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Country
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Album
0 copies
Album Description
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The Lonely, the Lonesome & the Gone is a studio album by American country music singer-songwriter Lee Ann Womack. It was released on October 27, 2017, through ATO Records. It was available to stream a week prior on NPR.org as part of their First Listen series.
Background
Speaking about the album, she said "I wanted to get out of Nashville, and tap the deep music and vibe of East Texas. I wanted to make sure this record had a lot of soul in it, because real country music has soul. I wanted to remind people of that." "All the Trouble", which was written by Womack, Waylon Payne and Adam Wright, is the lead single from the album. The album consists of 14 songs.
The track "Take the Devil Out of Me" is a George Jones cover and "Long Black Veil" is a Lefty Frizzell cover which was also notably recorded by Johnny Cash.
Commercial performance
The album debuted at No. 37 on Billboard's Top Country Albums chart, selling 3,200 copies in the first week. It has sold 5,200 copies in the US as of November 2017.
User Album Review
The Lonely, The Lonesome, & the Gone starts off a little strange stylistically, almost like it’s trying to stretch Lee Ann into the realm of this Muscle Shoals revival that east Nashville and Americana has been obsessed over for the last few years. Kudos for keeping things spicy and relevant, but sometimes it feels like producer and Lee Ann’s significant other Frank Liddell tends to get a little too cute, trying to put his own stamp on Lee Ann’s sound as opposed to finding its true, natural style.
The album starts off with a song called “All The Trouble” that tries to set a dark mood, but ultimately doesn’t say very much. The title track, “The Lonely, The Lonesome, & the Gone” could have been a really heavy hitting classic country tearjerker, but the steel guitar is buried in the mix for some reason, and the style seems too contemporary for the songwriting. The fuzzy, dream pop guitar tone on “Shine On Rainy Day” may be appropriate for some, but not for Lee Ann. She shouldn’t try to compete with the east Nashville retro hipsters. She’s better than them, and should be informing their sound instead of attempting to follow it.
But this record finds its footing in the middle portions, to the point where any disagreements you may have with the production team become forgivable. “End of the End of the World” solo written by Adam Wright is one of those songs that would have put people in the Hall of Fame if it was written 50 years ago. The playful, swaying beat of “Bottom Of The Barrel” by Brent Cobb and Jason Saenz gives the record its most appetizing and infectious moment. The three primary songwriters on this record—Womack, Waylon Payne, and Adam Wright—team together on “Mama Lost Her Smile” and the heartbreaking “Sunday,” and the results are pure magic.
You may ask yourself why we need yet another version of “Long Black Veil,” but Womack proves why. As iterated above, Lee Ann has a way of putting a definitive stamp on whatever she chooses to sing, not just because of her natural talents, but from knowing what she can clobber out of the park while standing in front of a mic, sometimes with sheer power like she did with the ultra-contemporary “I Hope You Dance,” or in the case of “Long Black Veil,” with hushed tones taken to one of the oldest and most revered compositions in country music history.
There’s a reason why Miranda Lambert—who shares many of the same songwriters and the same producer as Lee Ann—decided she needed to release two discs instead of one for her last album. During an era in country music when some of the best songs are being overlooked by Music Row, and it seems like a severe risk that this material maybe be resigned to demo tapes and legal pads for eternity, Lee Ann Womack is stepping up to give these songs breath and life, and contributing her own words more than ever, benefiting from the rest of country music’s shortsightedness. The rest of us benefit too when a record like The Lonely, The Lonesome, & the Gone gets pressed.
CREDIT: https://www.savingcountrymusic.com/album-review-lee-ann-womacks-the-lonely-the-lonesome-the-gone/
External Album Reviews
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User Comments
Available in:
The Lonely, the Lonesome & the Gone is a studio album by American country music singer-songwriter Lee Ann Womack. It was released on October 27, 2017, through ATO Records. It was available to stream a week prior on NPR.org as part of their First Listen series.
Background
Speaking about the album, she said "I wanted to get out of Nashville, and tap the deep music and vibe of East Texas. I wanted to make sure this record had a lot of soul in it, because real country music has soul. I wanted to remind people of that." "All the Trouble", which was written by Womack, Waylon Payne and Adam Wright, is the lead single from the album. The album consists of 14 songs.
The track "Take the Devil Out of Me" is a George Jones cover and "Long Black Veil" is a Lefty Frizzell cover which was also notably recorded by Johnny Cash.
Commercial performance
The album debuted at No. 37 on Billboard's Top Country Albums chart, selling 3,200 copies in the first week. It has sold 5,200 copies in the US as of November 2017.
User Album Review
The Lonely, The Lonesome, & the Gone starts off a little strange stylistically, almost like it’s trying to stretch Lee Ann into the realm of this Muscle Shoals revival that east Nashville and Americana has been obsessed over for the last few years. Kudos for keeping things spicy and relevant, but sometimes it feels like producer and Lee Ann’s significant other Frank Liddell tends to get a little too cute, trying to put his own stamp on Lee Ann’s sound as opposed to finding its true, natural style.
The album starts off with a song called “All The Trouble” that tries to set a dark mood, but ultimately doesn’t say very much. The title track, “The Lonely, The Lonesome, & the Gone” could have been a really heavy hitting classic country tearjerker, but the steel guitar is buried in the mix for some reason, and the style seems too contemporary for the songwriting. The fuzzy, dream pop guitar tone on “Shine On Rainy Day” may be appropriate for some, but not for Lee Ann. She shouldn’t try to compete with the east Nashville retro hipsters. She’s better than them, and should be informing their sound instead of attempting to follow it.
But this record finds its footing in the middle portions, to the point where any disagreements you may have with the production team become forgivable. “End of the End of the World” solo written by Adam Wright is one of those songs that would have put people in the Hall of Fame if it was written 50 years ago. The playful, swaying beat of “Bottom Of The Barrel” by Brent Cobb and Jason Saenz gives the record its most appetizing and infectious moment. The three primary songwriters on this record—Womack, Waylon Payne, and Adam Wright—team together on “Mama Lost Her Smile” and the heartbreaking “Sunday,” and the results are pure magic.
You may ask yourself why we need yet another version of “Long Black Veil,” but Womack proves why. As iterated above, Lee Ann has a way of putting a definitive stamp on whatever she chooses to sing, not just because of her natural talents, but from knowing what she can clobber out of the park while standing in front of a mic, sometimes with sheer power like she did with the ultra-contemporary “I Hope You Dance,” or in the case of “Long Black Veil,” with hushed tones taken to one of the oldest and most revered compositions in country music history.
There’s a reason why Miranda Lambert—who shares many of the same songwriters and the same producer as Lee Ann—decided she needed to release two discs instead of one for her last album. During an era in country music when some of the best songs are being overlooked by Music Row, and it seems like a severe risk that this material maybe be resigned to demo tapes and legal pads for eternity, Lee Ann Womack is stepping up to give these songs breath and life, and contributing her own words more than ever, benefiting from the rest of country music’s shortsightedness. The rest of us benefit too when a record like The Lonely, The Lonesome, & the Gone gets pressed.
CREDIT: https://www.savingcountrymusic.com/album-review-lee-ann-womacks-the-lonely-the-lonesome-the-gone/
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