The Weight of These Wings<\/a>.<\/em> And she\u2019s done her share of pop experimentation, releasing irresistible gems like \u201cBaggage Claim,\u201d \u201cBluebird,\u201d and \u201cDrunk (And I Don\u2019t Wanna Go Home),\u201d with Elle King.<\/p>\n\n\tBut last summer, she dipped her cowboy boot into disco, teaming up with Chris Stapleton for the glittery collab \u201cA Song to Sing.\u201d That track appears on Crisco,<\/em> and its dreamy, mirror-\u00adball vibes are the connective tissue of the album, co-produced by Lambert with one of Nashville\u2019s most pop-savvy songwriters, Jesse Frasure.<\/p>\n\n\tMuch has been made of the project\u2019s Seventies dance-floor sound \u2014 \u201cAin\u2019t we mixin\u2019 country and disco?\u201d she sings in the buttery title track, which she debuted onstage at the ACM Awards in May \u2014 but labeling Crisco<\/em> as a disco album sells it short. It\u2019s not a stunt project, but, similar to what Dolly Parton did on 1978\u2019s dance-ready Heartbreaker<\/em>, another bold step forward for one of country music\u2019s most adventurous artists.<\/p>\n\n
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\t\t\t\t\t\t<\/p><\/div>\n<\/p><\/div>\n<\/figcaption><\/figure>\n<\/div>\n\n\t\u201cToday I ran away and joined the circus\/I never felt at home on steady ground,\u201d she sings on \u201cTo Everything,\u201d a swooning, strings-assisted fantasy about letting go of the reins. Its chorus, coincidentally or not, echoes the way Elvis Presley would conclude his live version of \u201cWords\u201d \u2014 a song written by disco kings the Bee Gees. (Lambert recorded the Gibb brothers\u2019 \u201cJive Talkin\u2019\u201d for Barry Gibb\u2019s 2021 tribute album to his siblings.)<\/p>\n\n\n \t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n
\n\t\u201cRight Where We Left It,\u201d meanwhile, opens with a dance-floor beat and hustles along to Lambert\u2019s reunion with a past lover. On \u201cSunset Marquis,\u201d an escapist homage to the West Hollywood hotel, Lambert swims close to yacht-rock waters. The result is a breezy album-closing anthem that could have soundtracked a Seventies Aaron Spelling series. Love, exciting and new, indeed.<\/p>\n
\n\tBut Lambert doesn\u2019t let you forget she\u2019s also a woman from Texas. \u201cWhiskey Business\u201d is a drink-in-the-air party starter, where \u201cbusiness is good.\u201d And \u201cCuttin\u2019 Onions\u201d is a stone-faced kiss-off to an ex without nary a wet eye (save for the ones, she claims, that are welling up over the cutting board).<\/p>\n\n\n \t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n
\n\tThere\u2019s also a lone cover that drives the album\u2019s roots even deeper into the Me Decade: a gorgeous rendering of Jim Croce\u2019s 1974 posthumous hit \u201cI\u2019ll Have to Say I Love You in a Song.\u201d It\u2019s a spot-on choice for Lambert, a public figure who\u2019s rarely known for public emotion: She prefers to let her music convey what she\u2019s feeling. Her wafting voice suits Croce\u2019s melody perfectly.<\/p>\n
\n\tCountry fans will find few slippery slopes on Crisco<\/em>. In fact, the only entry that sounds remotely out of place is that opener, \u201cSnakeskin Boots,\u201d which, with its Western imagery, comes across as less swinging Seventies and more swinging saloon doors. Even so, it\u2019s sure to turn heads thanks to Lambert\u2019s featured guest on the song: Ella Langley, who trades lines with Lambert about slipping \u201cthe hangman\u2019s noose\u201d and \u201cstealing diamonds\u201d in their cold-blooded footwear. The song is both empowering and fun, and like the majority of Crisco,<\/em> teaches an ages-old genre some new steps.<\/p>\n<\/div>\nSource link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"M iranda Lambert\u2019s 11th major-label album opens with a soundscape straight out of a Sergio Leone spaghetti Western. There\u2019s a high-desert whistle, a plucked…<\/p>\n","protected":false},"author":5,"featured_media":74013,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-74012","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/74012","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=74012"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/74012\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/74013"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=74012"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=74012"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=74012"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}