Miranda lambert six degrees of separation
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Lambert switches gender roles during the song, too, singing “Getaway Driver” from the perspective of a man who keeps a close watch on his trouble-prone lover, ready to spirit her away whenever she gets “tangled in her messes.” Gorgeous.Ĩ. Pitching its tent halfway between Platinum‘s “Smokin’ and Drinkin,” and Revolution‘s “Virginia Bluebell,” “Getaway Driver” is swooning, sexy and soft-hued, with synthesized strings that drift toward the horizon. “Getaway Driver” (Miranda Lambert/Anderson East/Natalie Hemby)Īh, yes – the long-awaited co-write with Anderson East, Lambert’s boyfriend. A Valley Girl theme song on the surface, “Pink Sunglasses” packs a surprising punch at its core, with Lambert – who launches into the second and third choruses with a grunted “Uh!” – nailing a rare mix of trailer-park sass and hip-hop swagger that her cowgirl contemporaries can’t seem to match.ħ. Lambert is a “firm believer in the power of plastic,” speak-singing this ode to accessories while electric guitars buzz, burp and blast in the background. “Pink Sunglasses” (Rodney Clawson/Luke Dick/Natalie Hemby)
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Here, Lambert solicits new recruits for her social circle, reaching out to those who, like her, proudly sport stained T-shirts, closets stocked with borrowed dresses and hearts as empty as diesel tanks.Ħ. “We Should Be Friends” (Miranda Lambert)įeaturing a song-stealing drum groove from Matt Chamberlain, “We Should Be Friends” feels like the country-pop punchline to Jeff Foxworthy’s string of “You might be a redneck” one-liners. Two decades later, Lambert reclaims it as her own divorce song, dressing up the tune with Telecaster twang and coed harmonies.ĥ. Texas songwriter Shake Russell first recorded this rowdy kiss-off in 1996, aiming its lyrics at an unnamed ex who broke his heart. Slaphappy one minute and sad-eyed the next, it’s the sound of a bender’s boozy highs and hungover lows.Ĥ. Lambert reinvents herself as a barfly who slurs her way from happy hour to last call, refusing to leave the premises until the barkeep flips on the fluorescents and pushes her out the door. “Ugly Lights” (Miranda Lambert/Natalie Hemby/Liz Rose)
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Written by Natalie Hemby, Shane McAnally and Luke Dick, who co-wrote Eric Church’s “Kill a Word,” “Highway Vagabond” is equal parts country-funk road song and hillbilly nursery rhyme, delivered by a touring pro who’s seen her share of mile markers.ģ. “Highway Vagabond” (Luke Dick/Natalie Hemby/Shane McAnally) “There’s freedom in a broken heart,” Lambert promises at the close of this highway anthem, which kicks off These Wings‘ first disc with ringing reverb, muffled percussion and the airy atmospherics of Reagan-era U2.Ģ. “Runnin’ Just in Case” (Miranda Lambert/Gwen Sebastian) We break down the album’s two halves – titled The Nerve and The Heart, respectively – days before the album’s official release on November 18th.ġ.
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Luckily, The Weight of These Wings – produced by Frank Liddell, Glenn Worf and Eric Masse – says a lot, offering heft and honesty in equal numbers. She’s tired of the media hoopla that surrounds a major-label country release, and besides, she’d rather let the music do the talking. Lambert isn’t taking any interviews these days. The result is a pure, pointed look at heartbreak and reconstruction, delivered by a writer who’s at the top of her game and a band that’s encouraged to get weird. Lambert isn’t chasing success here she’s chasing the muse. With her byline on 20 songs, Lambert more than sextuples the amount of original material on her release, and her outside song choices (including a pair of under-the-radar covers by Danny O’Keefe and Shake Russell) help complete an album whose uncompressed guitar tones, daredevil drums – courtesy of original Pearl Jam member Matt Chamberlain – and left-of-center arrangements ignore the trends of Top 40 country radio. Shelton rush-released his own tribute to Splitsville, If I’m Honest, in May, billing the record, whose songs were mostly written by outsiders, as an honest look at his personal life. One year after a very public divorce from Blake Shelton, Miranda Lambert gets the last word with The Weight of These Wings, a double-disc magnum opus that tackles breakups, booze, friendships, fetishes, old scars and new beginnings over the course of 24 songs. Some breakups are so contentious, even artists confident enough to title their previous album Platinum can’t make it through them untarnished.